NTES 
BECKWITH 


CHA 


Z COCO OOK ATW o 








=, at _ Wi be a aR get eat an een! 6 


ae “> & ren ee ee 4 * aa pS Rage MOR ahs Pe? ae is) 

















As 


in 2007 with funding from 
Microsoft Corporation 





https://archive.org/details/oacchantes00e 





/223¢ 


COLLEGE SERIES OF GREEK AUTHORS 


EDITED UNDER,THE SUPERVISION OF 


JOHN. WILLIAMS WHITE anp THOMAS D, SEYMOUR, 


HURIPIDES 


BACCHANTES 


< 


ee es ot Bren hr Mace tern. 
EDITED 
ON THE BASIS OF WECKLEIN’S EDITION 


BY 


I. T. BECKWITH 


PROFESSOR IN TRINITY COLLEGE, 





BOSTON: 
PUBLISHED BY GINN & COMPANY, 
1888, 





in the Office of the Librarian of Congress, at Washington. 





J. 8. Cusnine & Co., PRinteRs, Boston, 


PREFACE. 


Tue text of the present edition of the Bacchantes is that of 
Wecklein (Leipzig, 1879), with a few variations in punctuation. 
A brief critical Appendix points out the principal departures from 
the authority of the Mss., together with the sources from which 
the readings adopted in such cases are derived. 

This edition was undertaken with the purpose of reproducing 
the edition of Wecklein, the latest and most valuable of the Ger- 
man editions, with a few changes. But, as the work reached 
completion, it was found that the departures from Wecklein in 
the way of additions and substitutions had become so numerous 
that no small part of what is here offered was foreign to the 
German edition. Therefore, while the fullest acknowledgment of 
obligation should be made to the German editor, it would mani- 
festly be improper to hold him responsible for any opinion given, 
unless expressly attributed to him. 

It hardly needs to be added that much use has been made of 


the labors of earlier editors. 


I. T. BECKWITH. 
HARTFORD, 1885. 





INTRODUCTION. 


I. THE BACCHANTES. 


Tue Bacchantes of Euripides represents the conflict between a 
flippant scepticism, blinding itself with persistent folly, and 
a newly-revealed faith, or rather, religious faith in general; for, 
while the Dionysiac worship, which is the immediate object of the 
conflict, is a new worship, it is plain that the poet takes the oppo- 
sition to it as but an instance of the refusal of an arrogant ration- 
alism to recognize the supernatural in general, whether in the 
ancestral faith or in a new worship. The play is aimed at the 
sceptical side of the Sophistic movement and kindred tendencies 
of society at the time. Both the outcome of the action, and the 
choral odes, which are to be regarded as interpreting the action, 
show unmistakably that the poet meant to recommend the accep- 
tance of the national faith and traditions as the only ground of a 
contented and happy life, and to exhibit the mischief of an 
unsound and irreligious philosophy. These facts give to the sub- 
ject and its treatment by Euripides an interest for all time. The 
relation of such views to those of the poet’s earlier works is a 
question which lies beyond the sphere of this Introduction, as is 
also any inquiry into the propriety of combining an ethical and 
an aesthetic motive in the treatment of the subject. The play is 
one of the poet’s last works ; it, however, reveals no trace of the 
weakness of age. Defects there are in the execution of details, as in 
the other works of Euripides. But, in poetic power in general, the 
Bacchanies is superior to many, perhaps we may say to any, of the 
poet’s earlier plays. Besides the subject-matter itself, especially 
interesting features of the play are the skilfully, though simply, 
constructed plot; the splendid choral odes, expressing the one 
theme of pious devotion in varying forms following the develop- 
ment of the action; the brilliant pieces of narration in the Mes- 
sengers’ speeches, and the striking situation in every scene. 


2 INTRODUCTION. 


The myth upon which the play is based is as follows: Dionysos 
was the son of Zeus and Semele, the daughter of Kadmos. Semele 
was beloved by Zeus, and when she was with child, misled by the 
jealous Hera, she prayed Zeus to show himself to her in his full 
glory; he appeared to her in thunder and lightning, and she, 
seized with terror, or struck by the lightning, gave untimely birth 
to her child and died. But Zeus took the child and sewed it up 
in his thigh, and when it was ready for birth, he brought it again 
into the world, and sent it by the hands of Hermes to the nymphs 
of Nysa, in whose woody mountains the infant god was reared. 
According to Euripides, Dionysos, after his second birth, was 
reared in Lydia and Phrygia, on the banks of the Paktolos, and in 
the mountain tracts of Tmolos. Here he established his rites, 
and from hence, at the head of a throng of attendants, equipped 
with the symbols and instruments of his worship, he marched 
through many parts of Asia, introducing his rites; finally he came 
into Greece, and first of all to Thebes. Here Semele’s sisters, 
Agaue, Ino, and Autonoe, denied his descent from Zeus ; where- 
upon the god, in attestation of his power, inspired them, together 
with the other women of Thebes, with baechic madness, and drove 
them to Mount Kithairon, to celebrate his rites there in wild 
revelry. At this time Kadmos had given the sovereignty into the 
hands of his grandson Pentheus, the son of Agaue and Echion. 
Pentheus not only denied the divinity of Dionysos, but with all 
the power of his kingly position attempted to prevent the intro- 
duction of the new worship, imprisoning some of the bacchantes 
and laying violent hands upon the god himself. For this impiety, 
the god wreaked a terrible vengeance upon him by deranging him 
and leading him to the mountains to be rent in pieces by his 
mother and her companions. 

The plot of the play is very simple. In the Prologos (1-63) 
Dionysos, who in the guise of a leader of the sacred revel-band 
has led a company of Asiatic bacchantes to Thebes, reveals him- 
self to the spectators in his own person, places before them the 
situation, and indicates the aim of the action. 

The Chorus then in the Parodos (64-169), imitating the bacchic 
revel in their dress and movements as well as in the wild enthu- 


INTRODUCTION. 3. 


siasm of the ode, celebrate the blessedness of the sacred rites, 
and thus awaken in the spectators the feelings requisite for 
_ following with sympathy the action of the play. 

In the First Epeisodion (170-369) the first attempt is made to 
influence the mind of Pentheus. The venerable old men, Kad- 
mos and Teiresias, acknowledge the new god, and in spite of 
their years go out to the mountains to join in the sacred rites. 
Pentheus on the other hand sees in the new worship nothing but 
imposture and harm; he thinks it fitted only to destroy virtue 
and propriety of conduct among the women of the city. He 
refuses to listen to the exhortations and warnings of the old 
men, whom he treats with scorn and derision, and he allows him- 
self to be so carried away with passion that he gives commands 
to destroy Teiresias’s place of augury, in order to wound the seer 
as deeply as possible; he also sends out his attendants to arrest 
the stranger, that is Dionysos himself, who has brought the new 
worship to Thebes. 

This proud impiety on the part of Pentheus draws from the 
Chorus in the First Stasimon (370-433) an invocation of the 
insulted goddess Sanctity, and renewed praise of the god himself. 
The bacchantes extol a life of quiet submission to the gods, and 
pray that they may come to a place where their revels may be 
held undisturbed. 

In the Second Epeisodion (484-518) Dionysos in the person of 
the stranger is brought before Pentheus as a prisoner. The 
servant who had arrested him warns the king that it is no ordi- 
nary man with whom they have to do, and reports that the The- 
ban bacchantes whom Pentheus had imprisoned have escaped to 
join in the bacchic rites, the fetters falling from them and the 
prison doors opening of their own accord. But in spite of all 
this, Pentheus is still unmoved. The calm bearing of Dionysos 
only inflames the imperious nature of the king, who in the face of 
repeated warning, orders the god to be led away to a place of 
confinement; he threatens also to enslave the band of Asiatic 
bacchantes now before the palace.’ 


1 Patin remarks on this scene: The haughty king stands in the pres- 
“The situation is a very striking one. ence of an enemy who seems so 


4 INTRODUCTION. 


In view of this crowning affront to the god in the person of 
their leader, the bacchantes in the Second Stasimon (519-575) 
break out into a ery of reproach against the nymph Dirke for the 
rejection of Dionysos at Thebes, and call upon the god himself 
to come and check the insolence of the king. The wild joy with 
which the Chorus in the Parodos sing of the introduction of the 
bacchie worship into Thebes, changes in the first Stasimon to a 
tone of deprecation and warning in view of the scoffing unbelief 
of Pentheus; and now in the second Stasimon, following the 
advance of his impiety, it becomes a cry of amazement and terror 
because of the violence done to their leader and threatened 
against themselves. . 

The Third Epeisodion (576-861) opens with a Kommos (576- 
603) in which the god, still within the palace, makes known to 
the bacchantes his presence and avenging power. A portion of 
the palace is seen falling in ruins, while the flames flash up anew 
on Semele’s grave. Forthwith Dionysos appears again in front 
of the palace, as before in the guise of a bacchant, and tells 
the wonders which the god has wrought within. Pentheus, though 
struck with amazement at what has happened, becomes none the 
wiser, but cherishes still his rage against the stranger. Here a 
herdsman enters from Kithairon, from whom Pentheus expects to 
hear the worst touching the conduct of the Maenads in the moun- 
tains—he hears, however, only of their virtue and of the presence 
of a supernatural power among them. The herdsman ends his 
narration with an exhortation to Pentheus to recognize the new 
god who has wrought such wonders. The king however refuses to. 
listen to the frank words of the peasant, and instead of acknowl- 
edging with reverence the power of the god, he orders out his 
entire army to march against the revellers and put an end to the 
worship by force. Thus the warning that comes to Pentheus in 


feeble, so contemptible, —- an enemy 
whom he derides, insults, and wan- 
tonly threatens, and who, neverthe- 
less, under an exterior most peaceful 
and serene, conceals a powerful divin- 
ity, angered, and ready to take a ter- 


rible vengeance for his insults. "This 
situation, of which the spectators 
have the secret, gives to every turn 
in the dialogue, even those which 
seem the least tragic, a terrible sig- 
nificance.” 


INTRODUCTION. 5 


different forms and with ever-increasing force in the three Epei- 
sodia results only in intensifying his contumacy and anger against 
the god. Then comes the hour of divine judgment. Dionysos, 
after again striving to bring him to a better purpose, begins to 
derange his mind and to lure him to his destruction, again illus- 
trating the ancient saying, ‘‘ Whom the gods will destroy, they 
first make mad.”* To draw the king into an offence which 
shall bring about his ruin he offers to conduct him to Kithairon 
to spy out .the secret rites, and persuades him to assume the 
female dress, that he may come among the bacchantes unharmed. 

The Chorus now freed from their terror and foreseeing the ven- 
geance which is to overtake the contemner of the god, break out 
in the Third Stasimon (862-911) into a jubilant song, joying in 
the anticipation of undisturbed revels, and exulting in the tri- 
umph of divine might over the arrogant despisers of beliefs 
grounded in nature and tradition. 

In the Fourth Epeisodion (912-976) Pentheus comes out of the 
palace in the dress of a bacchante, still more deranged, and after 
many inquiries touching his costume and the course to be pursued 
in spying out the Maenads, he sets out for the mountains led by 
Dionysos. The tragic irony of the scene increases to the end, 
when Pentheus proudly confident of a triumph hastens forth to 
what is to him certain doom. 

In the Fourth Stasimon (977-1023) the Chorus call upon the 
hounds of Madness to arouse the Maenads against the godless 
intruder into their sacred rites; they invoke the presence of the 
god himself, and predict the part which the mother of Pentheus 
will play in the execution of the divine vengeance. 

In the Fifth Epeisodion (1024-1152) a messenger comes from 
Kithairon to tell the marvels which have befallen there, and 
especially the terrible fate which has overtaken the king at the 
hands of the bacchantes. 

At this news the Chorus in a Hyporchema (1153-1167) take up 
a strain of wild exultation, which is suddenly interrupted by the 
appearance of Agaue who enters in the Hxodos (1168-1392) with 


1 Of. Frg. anonym. (cited by the  Sdaluwyv dvdp) mopodvy Kad, Tov vodv 
Schol. on Soph. Ant. 620): dtrav ® 5 EBAaWe mpGrov G Bovacvera. 


6 INTRODUCTION. 


frenzied look and movements, bearing the head of her son upon the 
thyrsus and glorying in her booty, which she supposes to be the head 
of a lion’s whelp. She is followed shortly by Kadmos, who with his 
attendants brings the fragments of Pentheus’s body. As he con- 
verses with Agaue, she is gradually restored to sanity, and becomes 
conscious of the deed she has committed. In the midst of their 
piteous laments Dionysos appears, now no longer in disguise, and 
announces to the various persons concerned the further punish- 
ment of exile from Thebes. The play ends with the pathetic 
parting of Kadmos and Agaue. Thus as the offence of Pentheus 
was unfolded through three regularly advancing steps, so its con- 
sequences reach their culmination through the same number of 
steps, and at the same time the choral odes follow the progress of 
the action more closely perhaps than in any other play of Euripides, 
expressing the emotions that accompany a devout faith as it passes 
from the most buoyant hopefulness through a gradually darkening 
struggle out again into a complete triumph. 

The character given to Dionysos, his powerful repose in the 
face of the king’s rage and violence, his skilful overruling of each 
act of opposition so as to further the very object which the king 
would hinder, his fierce irony in turning Pentheus’s anticipations 
of triumph into predictions of woe, mark in a masterly way the 
god in human form; not such a one, to be sure, as teaches us 
to love our enemies, but one who in keeping with a common 
principle of Greek morality is ‘‘ kindly to friends and harsh to 
foes.””! 

The character of Pentheus is that of a man without feeling, 
a shallow freethinker, who in accordance with his earth-born 
descent has no understanding for the divine, — a stubborn autocrat 
who acts with youthful arrogance and youthful folly. His concern 
for the chastity of the Theban women is the only trait which would 
seem to lend a higher character ‘to his sufferings; and yet this 
point is kept so much in the background that it is evidently a 





1 Med. 809. “The law in virtue of | when fate connected them insepara- 
which a divinity visited punishment bly, sooner than pardon the sinner 
was so inviolable that he would de- for the sake of the good.” Nigels- 
stroy the innocent with the guilty, bach, Nachhom. Theol. p. 31. 


INTRODUCTION. 


feigned, or at least a fancied motive, rather than a real one. Less 
interesting as such a type of character is, it however serves in the 
economy of the play to diminish the appearance of cruelty in the 
conduct of the god, and it corresponds also to the tendency of the 
play as a protest against a shallow rationalism. 

In the denouement, the feeling of pity is drawn chiefly to Agaue 
and Kadmos. Agaue had shared in the rejection of the god, but 
the accumulation of woe which falls upon her in the working out 
of the god’s vengeance can hardly be referred to that cause alone. 
In the intention of the poet it was doubtless due in part to the 
same cause as the calamity sent upon Kadmos. He had devoutly 
acknowledged the god, and as it would seem, might justly 
have expected to escape in the hour of the god’s wrath. But 
impiety like that of Pentheus could not fail in the opinion of that 
age to involve the whole family in the heaviest misfortune. The 
race was contaminated, and the innocent Kadmos was inevitably 
entangled in the ruin wrought by his offspring. No prophet had 
yet arisen to teach the Greeks that, ‘‘ The son shall not bear the 
iniquity of the father, neither shall the father bear the iniquity of 
the son.” 

The scene of the Bacchantes is laid in front of the royal palace at 
Thebes on the Kadmeia. At one side, doubtless represented on 
one of the periaktoi, are the still smoking ruins of that part of the 
palace in which Semele had perished by the bolt of Zeus. The 
spot is enclosed as hallowed and surrounded by the vine. Nearly 
all the persons of the play, Teiresias, Kadmos, Pentheus after 
912, Agaue, and the Chorus, have the insignia of the bacchic wor- 
ship,.the fawn-skin and the thyrsus, a staff crowned with ivy. 
According to the account which Pollux (iv. 115 ff.) gives of the 
costumes of the Greek stage, Dionysos wears a long chiton of differ- 
ent colors, over this a saffron mantle which is fastened about the 
breast with a bright-colored girdle, and over this the fawn-skin. 
The mask of the god represents him with all the marks of effemi- 
nate beauty. Teiresias wears over the chiton the dypyvov, a 
net-like woollen garment worn by the seers. Instead of the 
prophetic staff (i@vvrypiov) he has the thyrsus, and a wreath of 
ivy in place of the prophet’s chaplet (yavreita orédy, Aesch. 


8 INTRODUCTION. 


Ag. 1265). The Chorus have besides the fawn-skin and 
thyrsus, chaplets of ivy, and some of them carry the tympanum 
also. We may suppose the parts to have been divided among the 
actors as follows : — 


Protagonist: | Pentheus, Agaue. 
Deuteragonist: Dionysos, Teiresias. 
Tritagonist: | Kadmos, Servant, Messengers. 
According to the Scholiast on Aristophanes, Ranae 67," after the 
death of Euripides, the younger Euripides, the son, or as Suidas 
gives it, the nephew of the elder, brought out at Athens the Jphi- 
geneia at Aulis, the Alkmaion, and the Bacchantes, plays left by 
Euripides, and perhaps brought out by him in Macedonia at the 
court of King Archelaos (cf. 410 ff., 560 ff.), where he spent the 
last years of his life. A play in which faith celebrates its rites, 
and unbelief is put to shame, must, by reason of ‘‘ the seriousness 
of its import and the lofty religious inspiration pervading the whole 
and manifesting itself in many brilliant and profound utterances,” 
have attained great fame in antiquity. It was much read, as the 
frequent citations and reminiscences in the Greek and Roman 
writers show,® and was often acted.* It was imitated by the 
Roman poet Accius in his Bacchae; traces of its influence are 
apparent in Theocritus, Jdyl xxvi., in Ovid, Met. iii. 513 ff., and 
in the Dionysiaca of Nonnos, xliv.—xlvi.; the author of Xpucrds 
macxwov (falsely attributed to Gregory Nazianzenus) borrowed 
a large number of verses from it. Art also borrowed mate- 
rial from the play. The punishment of Pentheus is represented 
in numerous antique reliefs and vases, which seem to draw their 
suggestions from the work of Euripides, rather than from that of 


lai A’ackarla épovor, TedAevTh- 
cayros Evpimldov toy viby abrod Sed:da- 
xévat duwvipws ev tore Ipvyéveray rhy 
év AdAldi, "AAkualwva, Bdaxxas. 

2 Bernhardy, Griech. Ltg. Il. 2, 480. 

8 Hartung (Zuripides restitutus, II. 
557 f.) mentions the following as 
showing acquaintance with the play : 


Strabo, Plutarch, Gellius, Themistios, 
Lucian, Clemens Alex., Horace, Ori- 
gen, Athenaios, Aelian, Longinos, 
Plato, Aristippos, Theodoros, Sextus 
Empiricus, Polyainos, and Stobaios. 
* See note on 1169. 
5 See App. III. 


INTRODUCTION. 9 


Aeschylus or any other dramatist." A painting is described by 
Philostratos which represented two scenes from the Bacchantes, — 
one, the death of Pentheus at the hands of the Maenads; the 
other, the scene in front of the palace, just after Agaue has re- 
covered her sanity. 


Il. DIONYSOS AND HIS WORSHIP. 


Dionysos in his most essential character is the personification of 
the vital force in nature,? and as such he shares in the yearly 
changes of the natural world, triumphing in the joy of the opening 
year, when the earth is bursting into life and fruitfulness, and in 
turn undergoing suffering and persecution as nature sinks into the 


death of winter. 


Hence the Dionysiac legends are stories of both 


joy and sorrow, of triumph and defeat. The oldest myth touching 


1 Cf. O. Jahn, Pentheus und die 
Mianaden, Kiel, 1841. A bas-relief in 
the Campo Santo at Pisa (Jahn, Taf. 
iii. b) represents the death of Pentheus. 
Pentheus is stretched upon the earth; 
one woman is wrenching off his right 
foot, another with both hands is pull- 
ing at his left arm, at the same time 
bracing her right foot against his 
head; a third at the side is preparing 
to strike with a heavy bough, while 
upon the other side a fourth is coming 
up. At the end of the sculpture a 
tree is seen. 

2 Nysa, to whose nymphs the infant 
Dionysos was sent, is located by 
Homer (Zi. vi. 130 ff.) in Thrace. 
But in later times mention is made of 
a Nysa in Thessaly, Euboea, Boeotia, 
Macedonia, Naxos, Egypt, Libya, 
Aethiopia, Arabia, India, and other 
places. In this uncertainty as to 
location, Wecklein finds an indica- 
tion of the origin of the Dionysiac 
myth, which he explains as follows: 
Nysa, like Aia, the land of the golden 
fleece, was originally thought of as 
in the heavens, and was afterwards 


transferred to earth. The rain-cloud, 
big with tempest, is the mother of 
Dionysos; the cloud-gathering god 
of the storms is his father. When, 
after a flash and heavy peal of thun- 
der, the cloud bursts in a short and, 
as it were, premature shower, a simple 
imagination conceived of this as an 
untimely birth of the rain from the 
cloud. This naive representation led 
to the personification of the cloud as 
Semele and the rain as Dionysos. 
Cf. Etym. Magn. s.v. “Tns: éniderov 
Awvicov. 6 5¢ depexddns thy Zeueanv 
“Ynv Aéyet kal Tas TOD Atovicou Tpopods 
‘tddas. Or again, when Zeus is said 
to carry Dionysos in his thigh till he 
is ready for birth, this is merely 
another representation of the origin of 
rain. Thus Dionysos, as the offspring 
of the thunder-storm, brings together 
the elements of moisture and fire. 
And in this blending of moisture and 
warmth lies the peculiar nature of 
the god as the personification of the 
power which ripens the fruits and 
shows itself in the fiery force of 
wine. 


10 INTRODUCTION. 


the sufferings of Dionysos is that of his persecution by Lykurgos, 
king of Thrace, as given in Homer (Jl. vi. 130 ff.). Lykurgos 
resisted the institution of the bacchic worship in Thrace, smiting 
the nymphs, the nurses of Dionysos, with the ox-goad, and driv- 
ing them from the Nysaean mountains. The god fled in terror 
and plunged into the sea; but the king was smitten with blindness 
by Zeus, and died an early death, hated by all the gods. Accord- 
ing to a later legend, the land became unfruitful because of the 
king’s offence, and he himself was made mad and rent in pieces 
by horses at the command of Dionysos. To the same class of 
legends belongs this story of the god’s rejection by Pentheus at 
Thebes. 

The rites with which the festivals of the god were celebrated 
were orgiastic and accompanied with mystical ceremonies. In 
one of the Homeric Hymns (xxvi.) he is represented as ranging 
through the woods, and filling them with a loud din, attended 
only by the nymphs who had reared him in the grottoes of Nysa. 
But in the later forms of the myth his attendants became a pro- 
miscuous throng of mad bacchantes, satyrs, and sileni; and with 
the clangor of tympana, flutes, brazen cymbals, and tambourines — 
he riots through the woods and mountains, filling them with 
bacchic shouts and loud uproar, falling upon wild beasts, and 
sometimes also attacking and putting to flight hostile armies. 
And so at the festivals of the god the wives and maidens, decked 
with fawn-skins, hastened in a state of ecstasy and wild enthusi- 
asm to the woods and mountains, and by the light of torches 
performed their dances at night, revelled and shouted, tossing 
their heads and limbs in frenzied motions, chased wild beasts and 
ate raw the flesh of the animals which in their frenzy they fell 
upon and rent in pieces.!. This orgiastic worship at the trieteric 
festivals of Dionysos was closely connected with the frenzied 

1 Hartung (Bakchen, p. 156) says of the wilderness. Hence the Mae- 
of the bacchic worship: “It repre- nads took fawns to their breasts and 
sents a return to the primitive condi- clad themselves in fawn-skins, to 
tion of nature, and a renunciation of transform themselves, as it were, into 
civilization, that is, a renunciation of | roes; hence they crowned themselves 


a rational life regulated. by morality with twigs of oak and fir, and ate 
and law and a return to the innocency _raw flesh.” 


Siow A 


INTRODUCTION. 11 


worship of the Phrygian goddess Rhea Kybele and of Attis. It 
must therefore be supposed, that in the story of Dionysos’s coming 
from Phrygia there is a reminiscence of the origin of the ecstatic 
forms of the Dionysiac worship, that is, that they came into 
Greece from Asia Minor. It is possible that these frantic usages 
met with opposition among so rational a people as the Greeks, and 
that a reminiscence of this opposition as a fact in history is found 
in the myth of the persecution of Dionysos. 


Ill. THE MYTH IN LITERATURE. 


In the Odyssey, Dionysos is merely mentioned (xi. 325, xxiv. 
74). In the Iliad, except in the story of Lykurgos given above, 
he is spoken of only as the son of Semele and as xdppya Bporotow 
(xiv. 325). He does not appear among the superior divinities. 
What part in the growth and embellishment of the myth was 
taken by the epic poetry of the post-Homeric age we are unable 
to say. From the Scholiast on Hom. J/. vi. 131 we learn, that 
Eumelos, one of the so-called Cyclic poets, mentioned the story 
of Lykurgos. The seventh Homeric Hymn has for its subject the 
following legend: Dionysos appearing once upon the seashore in 
the form of a youth with beautiful hair, and wrapped in a purple 
mantle, was espied by a band of Tyrrhenian pirates, who took him 
for the son of a king and carried him off in their ship. But when 
they attempted to bind him, the fetters fell from his hands and 
feet, and he sat before them smiling. The pilot perceived that 
it was some god with whom they had to do, and urged them to set 
the youth on shore again; but the captain scorned the warning, 
and put out to.sea with his captive. Very soon the god began to 
manifest his power; fragrant wine flowed throughout the ship, 
and the masts and sails were wreathed and overhung with cluster- 
laden vines and blooming ivy. Dionysos suddenly changed him- 
self into a roaring lion, and in the midst of the ship appeared 
ashe-bear. ‘The lion seized the captain, and the crew fleeing in 
terror cast themselves into the sea and became dolphins ; the pious 
helmsman alone was saved. 

. In dithyrambic poetry the Dionysiac myths were favorite themes, 


12 INTRODUCTION. 


and from this they passed into tragedy, not only in those choral 
songs in which the beginnings of tragedy are found, but in tragedy 
proper, which in time discarded the satyric element and adopted 
materials of a serious character. A play entitled Ile@evs was 
attributed to Thespis ; Polyphradmon treated the story of Lykur- 
gos in a tetralogy with which he contended against Aeschylus and 
Aristias ; and Aeschylus also treated the same story in a tetralogy 
consisting of the tragedies "Héwvoi, Baccapides, Neavioxor, and the 
satyr-drama Avxotpyos. Upon the fragments that remain, taken in 
connection with a form of the story given by Apollodoros (iii. 
5.1), Hermann’ bases the conjecttire that the "Hdwvoi, the first play 
of the trilogy, represented the passionate rage of Lykurgos, and 
the defeat and imprisonment of the god and his attendants; that 
in the second play the bacchantes (Baccapides) freed by an invisi- 
ble power become victorious and rend in pieces Orpheus, the foe 
of Dionysos; and that in the third play the young Edonians 
(Neavioxo.) acknowledge the power of the god, and Lykurgos pays 
the penalty of his impiety with his life; but after his death he 
receives divine honors, and his cult is united with that of Dionysos. 
Naevius, the Roman poet, wrote a Lucurgus. Of this fragments 
remain which indicate several points of similarity to the trilogy 
of Aeschylus. The story of Pentheus also was treated by Aes- 
chylus in a play entitled evOevs.? One verse is preserved, — 

: pnd aiparos réuduya mpds rédw Badys. 

It is suggested that in these words Dionysos is urging Pentheus 
not to shed blood, that is, not to use the force of arms against the 
bacchantes (cf. Eur. Bacch. 837). The trilogy to which the play 
belonged cannot be determined. In another play, the Seuéry, 
according to the Scholiast on Apollonios of Rhodes, i. 635, Aeschylus 
treated the story of the first birth of Dionysos and the death of 
Semele. Also the Bavrpwa of Aeschylus is supposed by some to 
have been occupied with the myth of Pentheus. A play entitled 
Bdxya: was contained in the tetralogy with which Kenokles won 
the prize in 415 B.c. over Euripides. Also Iophon, the son of 
Sophocles, wrote a Baxya: 7 IevOevs. 


1 De Aeschyli Lycurgia, Opuscula, v. 2 Cf. the Second Hypothesis of Eur. 
p. 24, Bacch. 





AIONYSO3. 
XOPOS BAKXON. 
TEIPEXIAS. 
KAAMOX. 


ATAYH. 





TIIO@ESIS. 


Avdvucov ot mpoonKorvtes ovk epacay eivat Bedv: 6 
S€ avrois Tyswpiay eréoTnoe THY TpéTOVoAY. eypavets 
‘ > 7 ‘ “A / “a bo e Le. 4, 
yap emoinoe Tas THY OnBaiwy yuvaikas, dv ai Tov Kdd- 
pov Ovyarépes adyyovpevat Tovs Pudcous eiojyov emt Tov 
5 KiBaipdva. TlevOeds 5é 6 ris *Ayavns tats tapadaBov 
Tv Bacireiay edvoddper Tois ywomevos Kai Twas peév 
tov Bakyav ovdd\aBav ednoe, én airov Sé Tov Oedv 
Spaas dméorerev. ot S€ ExdvTos avrovd KupievoarTes 
> . X , . A wae § , a2:h 
Hyov mpos Tov IlevOéa, kaKetvos Exélevoev SHoavTas adTov 
10 evdov dudarrew, od héywv povov Ort Feds odK Eat. Ardvu- 
> ‘ 4A , , e > 9 7 la 
gos, GAG Kat TpaTTEW TaYTA ws KaT avOpadzrov TOAPOV. 
a X ‘ , , 4 re > A 
0 d€ cecpov Tojoas KatéoTpee TA Bacidea, dyayov 
‘ > al ¥ ‘ a , la 
dé cis KiPaipdva erace Tov HevOéa xatéatny yreobar 
“~ lal 7 x > “A a 3 Sah 
Tav yuvaikav hapBdavovta yuvaikds eo OyTa: at 8 avrov 
4, > 
15 OueoTacay, TAS pNnTpds "Ayavns Katap~apevyns. Kddpuos 
d€ 7d yeyovds KataicOdpevos Ta Siacracbdta pery 
cuvayayav TehevTatov TO TPdTwToV ev Tals THS TeKOVENS 
> 4 -f / 4 3 A ‘ A ~ 
epadpacev xepotv. Ardvucos S€ émihavels TA pev TAL 
, EE Be, See , § , ¥ 
Tapyyyenrer, Exdoto dé & cup Bicera Siecadynoer Epyois, 
9 lal 
20 wa pn Adyos Ud Twos TaV éxTds ws avOpwros KaTa- 
m2 
ppovn Op. 
lad... mwapyyyedev: reference is 2 éxdorw... katadpovyby : the sen- 
made to that part of the speech of tence is obscure. Elmsley proposes 


Dionysos which is lost in the lacuna _ to read dieodpyoer, tva wh Epyois H Ad- 
before 1330. yos, and Hermann é tore for éxrds. 


APISTO®ANOTS TPAMMATIKOT TITO@ESIS.* 


Audvucos aobewfeis, x Bovdopévov TevOéws ra 
dpyia avTod dvahapBavew, eis paviay ayayov Tas THS 


Lntpos adeddhas HvdyKace evOéa Siacrdca. 


H pvOo- 


Towa Keira, Tap Aioyvrw ev IevGet.? 


1 The grammarian Aristophanes, 
librarian at Alexandria about 200 B.c., 
appended to his summaries (é1o0éceis) 
of the plays, notices of the dates of 
representation, the titles of other 
plays brought out at the same time, 
the names of competing dramatists, 
etc. These notices were derived from 
the didacKcadrla, i.e. accounts of the 
authorship of the plays, their dates, 
etc., which in turn were compiled 


from the inscriptions in the vicinity 
of the theatre, and especially from 
those upon the pedestals of the tri- 
pods set up as votive offerings by 
successful Choregi. This hypothesis 
is probably not preserved entire, as 
the notices commonly appended are 
wanting. 

2 Upon the Pauiee of Aesch., see 
Introd. p. 12. 


— 


BAKXAT. 


AIONTZO&. 


"Hkw Avds ais tHvde OnBaiwy yOdva 
Avévucos, dv Ttikrer To? 4 Kddpov Képy 
Leuedyn oyeveto” dotpaanpopy Tupi ° 
popdny So apehpas éx Beod Bpornoiay 


5 mae preipet “Alprns vapor’ ‘Topnvod 8 wdwp. Lr 
THS Kepavvias 


6p@ dé pnTpds prjpa 


1-63. Tue Protocos in the form 
of a monologue sets forth the lead- 
ing motive in the action of the play. 
Dionysos appears in the character 
of one of his own votaries as the 
leader of the Bacchantes. But in 
the opening lines before the appear- 
ance of the Chorus, and again at 
the end of the play (1330 ff.), he re- 
veals himself in his true character. 
He leads his company of attendants 
before the palace, doubtless because 
it is with the royal family first of all 
that his advent in Thebes has to do, 
and because the manifestation of his 
power here would attract the atten- 
tion of all the city. 

1. ryvSe .. . Awvucos: at the 
opening of all the plays expressions 
are used which inform the audience 
where the scene is laid and who is 
speaking. 

2. tixre.: the hist. pres., not found 
in Hom., is common in the tragedies. 

3. hoxevBetoa «rA.: brought to bed, 
etc., more definitely explained 88 ff. 
See Introd. p. 2. — dorparnddpw: 


At 


wae. 


Wecklein comparing Frg. 314, Meg 
anpopet, carry lightning, takes the adj. 
as act. lightning bringing, the epithet 
of the person acting being transferred 
to the effect, as in aiua tparyoxtdvor, 
139, goat-killing slaughter. But the 
use of the verb cannot determine the 
exact meaning of the adj. Cf. the re- 
lation of ABoBoAéw to AdéBodos and 
AiGoBéAos. The more obvious sense 
is given by the pass. meaning, borne 
by the lightning. Cf. Aesch. Ag. 1150, 
Gedpopos, borne by a god. For the idea, 
cf. Soph. O. T. 200, ruppdpav aorpa- 
nav, fire bringing lightnings. 

4. dpelpas: having taken in ex- 
change. In this sense the mid. is 
commonly used, but the act. also is 
found. Cf Rhes. 527.—é« cov: for 
éx Oclas poppjs. The brachylogy is 
similar to that often found in com- 
parisons. H. 6438 c. 

5. mdpewt vdpara: as in prose 
mdpeu eis méaw. Cf. Cycl. 95, mdperor 
mdyov, El. 1278, NavrAlay rapév. 

6. Kepavvlas: thunder-smitten. Cf. 
Soph. Ant, 1139, warp) cepavrig (Schol. 


- 


a) if ese 


18 EYPITIAOY 


so. > ‘ ¥ ‘ 86 > U 
TO S OLK@Y KQU OM@V EPELTTLA fe 


Lite va 


tupdpeva Atov mupos ere Caoav dddya, 

7Q/ "ory! ht Sane Yloee Ps oa, 

aBdvarov “Hpas pyrép ets eunv vBpuw. 
10 aiva S€ Kddpov, aBatov ds rédov 7dde 


tiOnar Ovyarpds onkdv: dpuédov dé vw 
méprE eyo éexaduwa Botpudde. yop. 
urav Sé€ Avddv Tov Todvypiowr ytas 
Ppvyav te, Ileprav nuwPdyATovs TrAdKas plc 
15 Baxrpua Te TElyn THY TE Svoyipov xOova 
Mydav éerndOov *ApaBiay 7 eddaipova 
"Aciay TE TaGoV, ) Tap aAuvpay aha. 
Keiran puydow “EM\now BapBdpos 0 dod 
19 mdyjpers Exovoa KadduTUpyoTous TOdELS, 
21 KGKEL Yopevoas Kal KaTaoTHoas ewas 
22 Tederds, Ww elnv eudarvis Saiuwrv Bporots, 


GuliaTion 
KepavvoBAnte), cf. also below, 598, 
KepavydBodos. 

7. roSe: here, a common use of 
ide. H. 695 a.— 8Sépov: apartments, 
as in Med.1177. Only a part of the 
house was in ruins. 

8. tuddpeva... proya: smoulder- 
ing with the Zeus-sent fire still alive. 
The mid. is here followed by the cog- 
nate ace. as is the act. in Hdt. iv. 196, 
ripe kanvdv.— Alov: = AwoBdrov. Cf. 
598 f. 

9. dOdvarov...tBpiw: Hera’s ever- 
lasting outrage toward my mother, appos. 
to Sduwv... PAdya, a Const. common 
with Euripides. 

10f. GBarov...onxov: with the 
Romans also, a place struck by light- 
ning, after the objects struck had 
been buried there, was enclosed and 
made a sanctuary. 

12. éy#: in contrast with Kadmos. 
— BorpywSea: not cluster-like, but clus- 
ter-abounding. Adjs. in -é8ns denote 


fulness oftener than likeness. Kr. 
Spr. 41, 11, 30; Kiihn. 334, 13. 

13. Aurdv: with reference to the 
starting-point. Dionysos came into 
Persia, Baktria, etc., from Lydia and 
Phrygia, where he had been reared. 
—toduxpiocwv: cf. 154, also Aesch. 
Pers. 45, moddxpuco: Sdpdets. 

15. Svocyxipov: referring to the rig- 
orous climate, inclement. Strabo (xi. 
p- 525) says that the most of Media 
is high and cold. For this reason 
Ekbatana was made the summer resi- 
dence of the Persian kings. 

16. evSalpova: does not limit *Apa- 
Biav to that portion of the country 
called Arabia Felix; it shows rather 
that Arabia was imagined to be a 
kind of Eldorado. 

17. ’Actav: Asia Minor. 

19. mArpes: like rAnpéw and simi- 
lar verbs, sometimes followed by the 
dat. of means instead of the gen 
Kiihn. 417, An. 2. 


BAKXAT. 19 


20 Els rqobe mpatov %Oov EMyjvor xOova. 

23 mparas dé O7nBas tacde vis, ‘EAAnvidos 
avododvéa, veBpis eSdipas Xpoos frarnasernnr 

25 Odpaov te Sods eis yeipa, kicawoy Bédos, 


> - > DD) ‘\ , aA 9 a 

€Tel pp adedhal pyTpos, as HKLoTA ypyp, 
Fe > x” > A , 

Avdvicov ovK edpacKoyv expovar Atos, 


/ * a ipa 
Lewernv Sé vupdevbetoav ex Ovytod twos 6607 


/ 
J 


> w+ 4 \ Ris fn) , 
eis Znv avadépew tHv apaptiay éxovs, 


, . - A 
30 Kdduov codiopal’, av vw eivexa KTavew 


Znv’ eexavyavl, ort papas epedoraro. 


Tovydp VU auras T ék Sop | goTpno eyo 


pavias’ 6pos & oikovar mapdKorou i peat 


emeviy T 


exe payener dpytov seems Plerired_ ving 


35 Kat Tay TO Ory oéppa Kadpeiov doa 


yuvatkes Hoav éfeunva. Swpdtov: 


20. mp@rov: after wandering 
through Asia. Cf 481. 

21. éxet: all of the before men- 
tioned lands. — xopevoas: of the in- 
troduction of the Bacchic chorus. 

22. twa «ra.: the purpose of what 
precedes, though the same motive is 
implied in the following, and is di- 
rectly expressed in 39 ff. 

23. mporas: not tautological. The 
former line distinguishes Hellas from 
other extra-Asian countries ; this line, 
Thebes from other cities of Hellas. 

24. avwrodrvia: J filled with revel- 
shouts. —veBplSa : on the emblems 
of the Bacchic worship, see Introd. 
pp. 7f., also below, 176 f. — xpods: 
sc. avr@y, the women implied in @78as. 
xpés denotes the person when the 
surface of the body is concerned, as 
in clothing, touching, etc. 

25. Bédos: the thyrsi put into the 
hands of the Theban women are not 
inappropriately called missiles, as they 


were soon to be used as such. Cf. 
762, 1099. 

30. codicpara: appos. to «is... 
Aéxous. See on Spi, 9. The pl. is some- 
times used, especially by the poets, in 
reference to a single object, the ob- 
ject being viewed as something com- 
plex. Our idiom prefers the sing. 

31. éexavxavro : haughtily declared. 


—6ri «TA.: repeats dy civexa. 
32. rovydp: “in punishment for 


that.” —vlv (pl.) avirds: the sisters 
themselves in contrast with the other 
Theban women, way 1d O7Av oxép- 
pa, 35. 

33. dpos: cf. 62.— dpevav: gen. of 
separation. 

34. oxevyv: cf. 24f. and 176f. 

35f. doar... yoav: repeats with 
emphasis way ...omépya. “All of 
womankind among the Thebans, all 
the women who were here.” 

36. é€pnva Swparev: i.e. Zunva Kal 
Zreuba ex Swpdtwv. 


20 EYPITIIAOY 


dpov Se Kddpov maul spapepuypevan 
Xhwpais im éXdrais dvopddous PF fra. TET pats. 
Set yap wodw tHvd expaleiv, Kei pry Oéden, 

(40 aré\ectov otacay Tav euav Bakyevpdtor, 
Lewedns Te pyntpos amooyyoacbat p’ vrep 
davevta Ovyntois Saipov’ ov rikrer Au. 

Kddmos pév ody yépas Te Kat tupavvida 
Meet Sidwot Guyarpos exmepundrt 
45 Os Pcopaxet Ta Kat eue Kal omovday y piaro 


U4 et hy 


OO pw) &v ebxais 7° obSapGs pvelay’ exer. 
& eA > > Led ‘ vf > , 
av ever’ adt@ Beds yeyas évderEoua 


Traciv Te OnBaiowww. 


cis 8 GANnv xOdva, 


ravOévde Ouevos cd, petaotrnow 7dda, 
50 SeiKvds euauTov: tv dé O@nBaiwv modus 


37. Kaddpov marly (fem.): con- 
trasted with omépya Kaduelwr, the 
princesses contrasted with the other 
Theban women. 


39f. ékpaSetv: in the sense of 
mabodcay éxuabeiy. — otcav: supple- 
mentary partic. with réAw. For the 


partic. belonging to the subj., cf 47, 
1113. — Baxyxevpdrov: gen. after a 
compound of alpha privative. H.753c; 
G.180,".1. The thought of the pas- 
sage is, “they must to their sorrow 
learn that the Bacchic rites eontain 
truth of which they have been igno- 
rant.” 

41. drodoyyoac8a: sc. 57. Diony- 
sos by showing his divinity defends 
Semele from calumny. 

44. SiSwor: cf. 213. 

45f. rd war’ éué: in what relates to 
me. — omovSev cra. : “refuses me liba- 
tions and prayers,” i.e. “ divine honor.” 

48. Apollod. (iii. 5. 2) says that 
Dionysos after manifesting himself 


to the Thebans went to Argos, and 
there again, when they refused to 
honor him, drove the women mad. 

49. rdvOévde: for ra évradda, 
through the influence of peraorjow. 
The idiom is the so-called constructio 
praegnans. H.788b; G. 191, n. 6. 

50 ff. av 8€... orparnAarev: this 
sentence, which acc. to the nature of 
the prologues of Euripides is naturally 
taken as a prediction, has no answer- 
ing fact in the subsequent develop- 
ment of the plot. The difficulty dis- 
appears if we suppose @nBalwy (50) 
to have displaced some such phrase 
as tls Bpordév. The reference to the 
Thebans, then, ends with @nBatoow 
(48), and the remainder of the speech 
refers to the conquest of other lands. 
It is only to this conquest of other 
lands that’ line 58 can refer; for to 
refer it to a conflict with the Theban 
army is to make Dionysos assume 
human form throughout the play in 


BAKXAI. 21 


+ A N 9 * ¥ , ¥ 
opyn adv omdros €€ dpovs Bakyas ayew 
{nTq, cvvaro Mawdou orpatydarar. 
22. at dé. 
Gv ewer cldos Ovntov adddéas EXO" 
7 a SF 2% “fr > > ‘\ , 
popoyy 7 eunv peréBador eis avdpos dicw. 
55 adN ® utodoar Tua@dov epypa Avdias, 
Giacos ends yuvatkes, as ex BapBdpwv 
exduioa trapédpous Kai Evveurdpous poi, 
aiperOe tamiyap év rédker Ppvyav 
4 c , ‘ > , & € la ~ + 
TUptrava, Péas Te pntpos eud OF cvpypata, ~~~ 


order to meet a contingency which 
never arises. 

51. ov smdos: instead of the 
simple dat. (of means), though the 
idea of association is not entirely 
lost. Cf. Aesch. Pers. 755, éxrhow 
tiy aixun. Kr. Dial. 68, 13, 1.— 
Baxxas: if the reading @7Balwy (50) 
be correct, the reference here is to 
the Theban bacchantes, and the same 
is true of Mado: in the following 
line, though the latter might include 
the Asiatic bacchantes also. If, how- 
ever, the suggestion given above (on 
50) be correct, the reference in both 
words is to the Asiatic bacchantes. 

52. cvvape: sc. udxny. Cf. Heracl. 
808, udxnv cvvayas, Aesch. Pers. 336, 
pdxnv cvvdya, also, below, 837, cup- 
Baroy pdxnv.— Mawder orparnda- 
Tov: some verbs of ruling, leading, 
ete. (e.g. dvdoow, fryéoua) take a dat. 
denoting those with reference to 
whom the ruler or leader acts as 
such, where the corresponding Eng. 
verb takes a direct obj. The const. is 
the same as with intr. verbs of serv- 
ing (H. 764, 2; G. 184, 2), and not 
the dat. of advantage. 

53. ddAdgas éxw: a periphrastic 
pf. common in Euripides and Sopho- 
eles. H. 981 a; G. 279, n. 2. 


55. The Chorus of Asiatic bac- 
chantes here appear, and Dionysos, 
whom they as yet recognize only as 
a prophet of the god, addresses them 
as soon as they come within sight. — 
d\Aa: often used where the discourse 
is broken off suddenly, and some- 
thing new, as a command or exhorta- 
tion, is introduced. — pupa: the chain 
of mountains called Tmolos formed 
the southern bulwark of the principal 
valley of Lydia, the valley of the 
Hermos. 

56. Biacos: revel-band, a band of 
votaries joined together for sacred 
rites, especially those of Dionysos. 

57. wapeSpous, Evveprdpous: the for- 
mer appropriate to the Chorus as the 
associates in general of Dionysos, the 
latter as his attendants in his jour- 
neying. 

58. wove Ppvyav: Phrygia. mddrrs 
in the tragedies often denotes a re- 
gion. 

59: tupmava: see on 124. The 
command of Dionysos shows that 
certain parts of the following choral 
ode were accompanied by the tym- 
panum. —‘Péas: see on 79f. In 
124 ff. the invention of the tympanum 
is referred to the Korybantes. — evpy- 
para: for the pl., see on 30. 


22 EYPITIAOY 


60 Bacirerd 7 audi Sdépar’ —Oodoar rdde 
ktumeite IevOéws, as 6pa Kddpov modus. 
eyo S€ Baxyaus, eis KiOaipvos mruxas 
RT: ae eee ey , "A oe he 4 f ride 
av Ww eici, cuppeTacyyow xopav. “46 «& 


XOPOS. 


*Agias aro yaias 


65 tepov Tudor dpehpaca Bodlo 


Bpopty [Ae@| mévov Hdvv kdparov 7 7 €d- 


Kdpatov, Baxyvov evaloméva. 


tis 60@ Tis 600; 


c 


tie 
pehaOpors Extomros €oTw, oTdua T evdy- 


60. rade: see on 7. 
62. Bdxyats: the Theban bac- 
chantes. 


63. cupperacyyow Xxopav: a pur- 
pose not fulfilled because of his ar- 
rest by the servant of Pentheus. Cf 
434 ff. 

64-169. Tux Paropos. The Cho- 
rus announce their relation to the 
god (o7p. a’); enjoin upon all the 
uninitiated a hallowed silence (avr. 
a’); tell of the blessedness of those 
who hallow their lives by sharing in 
the rights of Dionysos and Kybele 
(orp. 8’ 72-82); incite each other 
to make the god known in Hellas 
(83-87); tell of the god’s wonderful 
birth (avr. 8’); call upon the The- 
bans to equip themselves and join 
the revel-band (orp. 7); tell of the 
introduction of the tympanum and 
flute into the worship (dyr. 7); and 
describe the ecstasy of the revelers 
in the chase and the frenzied move- 
ments and cries of the leader (érw3.). 

65 f. tepdv: with reference to Mt. 
Tmolos as the place where Dionysos 
had instituted his rites.—Ood{w mévov: 


Zrpodr] a’. 
Tis; "Avrirtpop7 a’. 
I speed on my glad toil. It is possible, 


however, to take @od¢w as intr. and 
aévoyv in appos. with the sentence. — 
Bpoplw: in honor of Bromios. The 
name is given to Dionysos from the 
din (8pénos, Bpguw) of his revels. — 
Geo : inserted (cf 84) by conjecture to 
restore the metrical correspondence 
with 70.—-mdvov ySvv: an oxymoron, 
as in kduaroy edkduarov. Of. Soph. 
O. T. 1214, &yapov yduor, id. El. 1154, 
BATHp &phrwp. 

67. Badxxvov evafopéva: Wecklein 
regards the const. as the cognate acc., 
raising the Bacchic shout edot. Cf. Soph. 
Ant. 133, vinny Gdraddia, to raise the 
shout of victory. But most authorities 
take evaCoudva as trans., hailing Bac- 
chus with the shout ebot.  . 

68 f. rls 686... oerw: explained 
as equiv. to Saris 63g eo, weAdOpois 
Exromos toTw, t.€. eis weAadpa ekiordobw. 
The imitation in Ar. Ran. 354 ff. of 
the solemn proclamation with which 
the hierophant opened the celebra- 
tion of the Eleusinian mysteries be- 
gins ebpnuciv xph KakloracOa Tots Hme- 
tépoot xopoiow. So here the Chorus 


iad 


BAKXAI. 23 


9 
70 pov amas efooiotcbw: Ta vopicbév- 
Ta yap aici Audvucov tpricw. 


> , 9 > , 
@ pakap, doTis evoaipnev 


tederas Oeav cidas 
Buorav ayvorever 

75 Kal Ovaceverar Wuyav 
év opera. Baxyevov 
doiows Kkafappotow 


Zrpopy P’. 


Td TE paTpos peyddas dp- 


ya KuBédas Oewiredor, 


are warning all unhallowed persons 
against joining in the sacred rites; 
and it is difficult to see any reason 
for bidding them to withdraw into 
the palace, especially after Dionysos 
has expressed (61) his purpose that 
all the city may come and see. If 
the more common punctuation, ris 
meAdOpas; extoros ~cTw, be adopted 
instead of that of Elmsley followed 
in the text, the Chorus may be under- 
stood to call upon all, both those in 
the street and those in the palace, to 
keep themselves in silence aloof (&«7o- 
aos) from the hallowed dance in which 
only the initiates join. — evdnuov: 
proleptic, /et every one hallow his lips 
into silence, i.e. keep hallowed silence. 
7Of. td voprobevra alel: the ever- 
customary, i.e. as has ever been the cus- 
tom. The phrase is in appos. with the 
following. Similarly 7d Acyduevor, as 
is said, is frequently used. H. 626 b. 
Language appropriate to the poet’s 
time is put into the mouth of the 
Chorus. Cf. 201, 331. — dpvyow: the 
defect in the metre suggests that this 
word has crept in from a gloss in 
place of some other word. Kedada 
suits the metre of the strophe. 
72-74. @ pdwap...dyorever: O 


happy he who to his blessedness (evdat- 
pwv) having full knowledge of the divine 
mysteries hallows his life. Cf. Soph. 
Frg. 719 D, &s tpicdABiot ketvor Bpotar, 
ot tadta Sepxbdvres téAn pdAwo” és 
“Aidov. — TeAeras: the secret rites of 
initiation ; dpya, the outward usages 
and ceremonies at the celebration of 
the festivals. 

75-77. @vaceverar. . . kabappotory : 
@:acetdw has both an intr. use, revel in 
the thiasos, cf. 379, and a trans., intro- 
duce into the thiasos, cf. Ion, 552. Cf. 
the two uses of yxopedw. It is evi- 
dently used in the second sense here, 
and may be taken as mid. or pass. 
without essential difference in mean- 
ing: is in soul initiated into the revel- 
band with holy purifications celebrating 
bacchic rites in the mountains. Those 
who strove to ennoble the ideas of 
the people and to elevate morality 
connected with the mysteries the re- 
quirement of inner purification and 
upright living. Cf. Frg. 475, dyrov 
3é Blov relvower ef of Aids “Idalou pborns 
yevouny. 

78f. Spya Ceurrevav: celebrating 
lawful rites. — KvBéXas: Rhea Ky- 
bele and Dionysos, as divinities rep- 
resenting the life of the natural 


24 EYPIDIAOY 


5 A 4 , 
80 ava Ovpoov Te TWacowr 


lal ‘\ 
Kico@ Te oTepavaleis 


Avdvucov Bepazrever. 


¥ , ¥ / 
ire Baxyat, ire Baxyat, 


Bpdpuov aida Oedv Oeod 


85 Advucov Katdyovoat 


Dpvyiov &€ dpéwv “Eddddos eis 
evpuxdpovs ayuids, Tov Bpdpwov 


9 7¥ ee 297 
OV TOT €XOUT eV WOWOV 


Aoxiaus avdyKaiot 


90 mrapévas Avds Bpovras . 
vStos ex Bodov parop 


ETEKEV, uroto” aio- 


Frau nh 


va Kepauvien mhayg wt 


’Avrirrpodi 8’. 


a 7 
fhresr1d 


hoxtous 8 avtrixa vw 6é- 


world in the round of the seasons, 
stood in close relation to each other, 
and their orgies were often blended. 
The rites of both symbolized the 
same phenomena, and the character- 
istic feature in both cults was the 
band of revelers rioting through the 
country with ecstatic shouts and the 
din of the tympana. The home of 
the worship of each was the region 
of Lydia and Phrygia. — Qeprevov : 
best taken as parallel with Baxrxetdwy 
and joined with @acevera. 

80. dvd, twdocowv: with depareder. 
Upon the tmesis, cf. the correspond- 
ing verse of the antistrophe, 96. 

85. Kardyovrat: Kardyew denotes 
the restoration to one’s home from a 
foreign land. 

87. dyuds: used of a Cityyumagaen, 

way. ‘The same phrase edpyxdpous 
ayuds occurs in Pind. Pyth. viii. 77, 


and in the oracle cited by Dem. contra 
Mid, 531. In the latter passage the 
meaning is ways, streets, as appears 
from a comparison with the Schol. on 
Ar. Eq. 1819, os jv rots év a&yuais 
iorapévors Oeots em) rats épxouevais aryye- 
Alas @vew, and this meaning is appli- 
cable in the other passage and also 


here. edpuxédpous is, then, to be taken 
as equiv. to edpelas. See on @nporpd- 
gov, 102. 


88 ff. sv: the obj. of éxouvea (preg- 
nant with) as well as of érekev. Exov- 
oa may, however, be taken in the 
sense of ovca. This use of exw, so 
common with adverbs, is also found 
with prepositional phrases. Cf Soph. 
Ant. 639, 314 ordpywy exew; Xen. Cyr. 
vi. 1. 36, év aicxtvn %xovra.— ev... 
Bpovras: in childbirth’s stress of pangs 
brought on by the winged bolt of Zeus. 
Cf. 3. 


BAKXAI. 25 


9 ato Paddpais Kpovidas Zeds, 


Kata pnp@ Sé kahipas 


xpvoéaow couvepeider 


, ‘ 5 79 
mepovais KpuTTov ad “Hpas. « 


erexev 8, avixa Motpau 


100 Té\ecav, TavpdKepwv Oeov 
ateddvecty te Spaxdvtwv 
, ¥ »¥ , 
oreddvors, evbev aypav Onpotrpddov 
Mauwddes dudiBdddAovrat: troKdpois. 
105 @ Leuéhas tpodot On- 


.Zrpopy y’. 


Bat orehavotobe Kico@: 


Bpvere Bpvere xdojper s-t/ 


pidtaku Kaddukapr@ = 
‘ ~ 
Kat kataBaxy.odae 


94f. Aoxlors Padrcpais: into a cham- 
ber of birth, i.e. the thigh of Zeus where 
the child should mature to a second 
birth. Cf. 527, &poceva vnduv. 

97. cvvepelSer: binds fast. 

98. xpu@rév: proleptic, so that he 
was hidden. 

100. réAerav; had matured, i.e. for 
birth. The augment is often omitted 
in the lyric portions of the tragedies. 
In the trimeters the syllabic augment 
only is omitted, and that nowhere ex- 
cept in the paoes dyyeAual. Kr. Dial. 
28, 3, 4.—ravpcdKepwv: Dionysos is 
often represented as a bull to sym- 
bolize his strength and generative 
power; often also with merely the 
horns of the bull. Cf 920, 1017, 
1159. 

102. évOev d&ypav Onporpddov: Weck- 
lein substituting @npotpépov for Onpo- 
tpépo: makes the phrase equiv. to 
%vOev éErovoa Onpay rpophy and under- 
stands the meaning to be, that the 


4 
yey Ages > Sette tn ly 


ut 


serpents taken (&ypa @npav) from 
Dionysos continue to grow (tpéperat) 
fixed to the Maenads. A much sim- 
pler interpretation is obtained by re- 
ferring &ypay to the prey taken by 
the Maenads for the purpose indi- 
cated, and by reading @npérpogor in- 
stead of @nporpépov, pass. instead of 
act. The pass. sense is found in 
Phoen. 820. The adj. explains where- 
in the prey consists and is nearly 
equal to @fpeov. The meaning then 
is: whence it is that the Maenads twine 
in their hair the prey of wild beasts, i.e. 
the captive serpents. The Maenads 
are frequently described as twining 
serpents in their hair and about their 
persons. Cf. 698. 

108. pfdaxt: a kind of bind-weed 
which Pliny (H. N, xvi. 63) describes 
as similar to ivy, and bearing red ber- 
ries (xaAAudpry). He speaks further 
of its frequent use at the festivals of 
Bacchus in place of the ivy. 


26 


110 


EYPITIAOY 


" PIAL 


Spvos 7 ev eddras KAddouw1, oo 


“otuktav T évduta veBpidwv 


, 9 , 
orépere evkotpixwyv moKdpwv 
Lal > ‘ \ /, ¢ ‘ 
paddots: dudi dé vapOnxas bBpioras 
dc.vc0l aitika ya maca xopevoe, 


115 


Bpopuos evr av ayn Oudcovs 


ofS ae Sat oy ¥ , 
€ls Opos €ls opos, ev0a EVEL 


Onrvyerns oxdos _/ ... 


a eee ely ore > 
ad LOT@V TApa Kepkidav T 


oiatpnbets Avoviow. 


120 @® Paddpevpa Koup7- 


°A: b ‘ Y: 


tov Cabeot te Kpriras 7 


110. év: used here of the crown- 
ing, as often of clothing or equip- 
ment. The placing of the preposition 
in the second part of the sentence 
occurs in Pindar and the dramatists, 
but not in prose. Kr. Dial. 68, 9, 2. 

112. orédere: deck. For this mean- 
ing of orépw, cf. the Schol. on Soph. 
El. 53, where it is explained by koo- 
meiv; also Anth. P. v. 152, 7, dope 
atéyw oe Aéovtos. Tacitus (Germ. 17) 
and Herodotus (iv. 109) speak of the 
practice of decking skins by tacking 
on pieces of skins of another kind. 
The fawn-skins were trimmed with 
tufts of various colors to increase 
their motley appearance. — Aevkorpt- 
xv tAoKkdpov: cf Iph. A. 1080, xaa- 
Aucduav mwAdxayov, ibid. 790, edmdoKd- 
pou xépuas, below, 169, c@Aov taxbmovv. 
— If wAoxduwv be the correct reading, 
it cannot refer to the human hair, its 
usual signification. The difficulty 
disappears if it be understood in its 
primary sense (from wAékw) of any- 
thing twisted, a lock. Pollux. (ii. 27) 
says the poets used it of wreaths of 


rr 


smoke. Similarly Béorpuxos, a curl 
of hair, is used of anything twisted. 

113. paddois: tufts of wool, not of 
human hair. For the tautology in 
mAokduwv paddrois, cf. Phoen. 308, Bo- 
otpvxwy tAokduov. Translate the sen- 
tence : deck the dress of dappled fawn- 
skins with tufts of white locks of wool. 
— dpi xrd.: hallow yourselves around 
the wanton thyrsi. The thyrsi were 
the most conspicuous objects in the 
midst of the revel-band. The mean- 
ing, then, is that the Thebans should 
take the thyrsus after the other 
Bacchic insignia (106-113) and con- 
secrate themselves by joining the 
revel-band. Cf. 75 ff. @maceverar... 
kabapuotow. —tBpiords: the epithet 
is transferred from the person to the 
thing. 

114. ya: land, not earth. 

118 f. dard olorpnPels mapa: of. 427, 
dméxew mapd. 

120. Oarcpevpa: cavern, defined by 
Awoyevéropes @vavaar (haunts where Zeus 
was born), the famous cave on Mt. 
Ida in Crete where Rhea brought 


BAKXAI, 


Avoyevéropes evavdo., 


¥ , ¥ 

eva tpixdpvles. avtpows 
Prints 

Bupcorovoy Kikhopa = 


27 


125 71dde or KopvBavtes ntpov: 


avoa Baxyia cuvTove 
ae t X t 


' képacav advBoay Ppvyiwv 


> lal , , ec 4 > 
aviav mvevpata, watpos Te Péas eis 


xépa Onxay, KTvTov evadopacr Baxyav: 


forth Zeus and where the Kuretes 
protected the infant against the de- 
signs of Kronos. The cave with 
which the ancients connected these 
legends has been identified with a 
grotto on Mt. Ida some 3000 feet 
below the highest peak. But in re- 
cent explorations in Crete a cave has 
been found higher up between Mt. 
Ida and Mt. Dikte, at the foot of 
the loftiest peak, in which numerous 
remains of sacrificial and other reli- 
gious rites have been unearthed. 
This latter is probably the ’ldaiov ay- 
tpov of the ancients. The Kuretes 
were associated with the rites of the 
Cretan Rhea just as the Korybantes 
were with those of the Phrygian Rhea 
Kybele. The union of these two 
cults brought with it the confound- 
ing of the Kuretes and Korybantes 
with each other. The Korybantes’ 
dances were combined with the toss- 
ing of the head and limbs and ac- 
companied by the tympana. 

123. tpuxdpv0es: the other form 
tpuxdpv0os occurs in Or. 1480. The 
high helm was divided by a triple 
rim, which gave it the appearance of 
three helms placed one above the 
other. — dyrpois: dat. of place. 

124 f. Buprorovov kiKdkwopa: the 
tympanum, similar to a kettle-drum, 
consisted of a wooden hemisphere 


lt Menenera 


WY 


covered with leather. It is also often 
represented as similar to the tam- 
bourine.— pol: for me, because the 
tympanum was afterwards adopted 
by the bacchanals. Translate the 
passage: where in caverns the Kory- 
bantes with triple helm devised for me 
this disk of tight-drawn skin. 

126-128. Construe: xépacar (sc. Ko- 
piBavres) cuvtévp abde Bdexia mvet- 
pata advBoay Spvylwy abAdy. The text 
is very uncertain. —av6q: i.c. of the 
tympanum. — Boxxva: orgiastic, called 
bacchic by anticipation. Strictly 
taken, acc. to 130 ff., the application 
to the tympanum and the flute is 
subsequent. Aristotle (Pol. viii. 6) 
calls the flute dpyavoy dpyiacrindy. 
The loud music of the flute used in 
the worship of Kybele, as in that 
of Dionysos, originated in Phrygia. 
Marsyas was said to be the inventor 
of it.— cvvtove: vehement, noisy.— 
avAev: commonly translated flute, 
though the instrument was more like 
the clarionet or oboe. 

129. @yKxav: sc. the tympanum. — 
KTvmov: in appos. with avg... mvev- 
para, i.e. the din is the mingled 
sounds of the tympanum and flute. 
—eidopact Baxyx dy: for, i.e. to accom- 
pany, the revel-shouts of the bacchantes, 
like Bdrxia, 126, used in anticipation. 
The dat. depends upon kriémov. Cf. 


pa 


28 EYPIDIAOY 


130 mapa dé pawopevor Larupor 
parépos eLaviccavto Oeas, 


> A , 

eis 5€ yopevpara 
ocuwjwbav Tpiernpidwr, 
ais xaiper Avdvucos. 


135 
5 4 4, 
ex Oiacwv Spopatwy 


egr > ¥ » ott See: 
novs €v ovpeow, edr ay 


wéoy TEdOCE, veBpidos € exov 


py €vourTopr, diypebur 


aiua TpayokTovoyv, apopayov xapu, 


140 


iguevos eis dpea Ppvyia, Avdua. 


& 8 e€apxos Bpdutos, evot. 


Iph. T. 387, ra Ocotow éoriduara; 
Soph. Ant. 571, xaxds -yuvaikas vider 
OTUY@. 

130 f. wapa... éfavicavro Qeds: 
étavicacbal tt mapd Tivos is to obtain 
anything from. one by labor or prayers. 
Cf. Aesch. Prom. 700, rhv xpelav hvi- 
caode, ye obtained your request.— Larv- 
pot: because they were the especial 
attendants of Dionysos. 

133. rprernplSev: trieteric festivals. 
In many places, as Thebes, Argos, 
Crete, etc., the festivals of Dionysos 
were trieteric, that is, occurring every 
other year, at the beginning of every 
third year. The explanation of this 
has been found in the belief that 
Dionysos having passed the interven- 
ing time in the lower world was born 
anew every other year (see Preller, 
Griech, Myth. I. 565), a belief which 
itself needs explanation. These tri- 
eteric festivals were celebrated en- 
tirely or chiefly by women, and were 
marked especially by orgiastic rites. 
See Schémann, Griech. Alterth. IL. 
478 ff, Such is the festival that forms 


the background of this play, and 
hence the propriety of the term he 

135 ff. 10s xrA.: if the text is 
rect (see App.), the adj. is most natu- 
rally referred to the subj. of wéep, 
implied in é« @:dowy, i.e. the bacchant. 
Lit., Glad is he (the reveler) in the 
mountains, when one from the swift revel- 
bands falls to the earth, i.e. “Full of 
rapture is that one who amid the 
revels falls to the earth in ecstasy.” 

139. alpa tpayoxrovov: goat-killing 

staughter, i.e. the slaughter of the goat. 
Cf. Or, 833, unrpoxrévoy alva, H. F. 
1201, aiua madopdvov. See Introd. 
p. 10.— dpoddyov xdpw: pred. to 
alua, for the enjoyment of — raw 
Slesh. 

140. Avéia: for Avoid re. 

141. But he, Bromios, is the leader 
(i.e. of our revels), Huoi! The god 
is called the leader, as being the in- 
spirer of the revels. The exclama- 
tion, evoz, is in place here, as the 
whole description has much of the 
ecstatic nature of the actual revel to 
which this cry belongs. 


BAKXATIT. 29 


pet dé yadaxre méoov, pet Ss ova, pet d€ peduroav 


véxtapt, Supias Sé€ OpdoKe MBdvov Kamvds. 


145 6 Baxxyeds & EXOD , 


Jogrh 


mupadidn pheyar TEVKAS 


Z 4, 
rcs. f Pe ritny 


ék vapOnxos QiTOEL vranid rad 


Spoue Kal xopois épebiLwr iiuidnss 


tayas T avaTad\wr, 
150 


tpudgepov mdxov eis aif€pa pimtav. »~' 


9 ee "S29 77 3 id 
dpa & én eddopacw émBpewer 


TOLL * 
> + 4 
@ UTE Baxxau, Ilak- 


5 » 
@ ire Baxyat, 


TOoV xpvaopdov xAioa 


155 pedmere TOV Aidvucov 


4 aa %\ , 
BapvBpoperv id TupTaver, 
¥ ‘ + > , \ 
€Via TOV EVLOV Gyabkapavae Bedv 


év Ppvyiaur Boats évoratct re, 


160 AwTds OTav EvKé\adoOS 


142. Cf. 707 ff. — yddAanr: the 
poets use the dat. instead of the gen. 
with petv. Kr. Dial. 47, 16,5. See on 
19. 

144, Xvplas: the frankincense of 
classical times came chiefly from 
Arabia through Syrian ports. — 0pe- 
oKe: mounts up.—dBdvov: properly 
the tree, then the frankincense from 
the tree. 

145. Baxyevs: 
not Bacchus. 

147. é« vapOykos: instead of év 
vapOnx:. The torch was affixed to or 
inserted in the thyrsus, from which 
the flame is represented as pro- 
ceeding. 

148. Spdpm Kal xopots: the end of 
the action in épe@i(wv. As the bac- 
chant darts along brandishing the 
flaming thyrsus, he arouses his wan- 


the bacchant-leader, 


dering comrades to running and danc- 
ing. The const. is like that in mpoxa- 
Aéooato xdpun, Hom. JI. vii. 218. 

149. dvamdAdwv : inciting, i.e. to the 
dance. : 

151. dpa 8€ xrA.: and at the same 
time together with (lit. in addition to) 
the revel-cries, etc. — etdopacw: the 
revel-cries, evo? KTA. 

153 f. Tlaxroédov xpucopdov x84 : 
with ornaments of the gold-flowing Pak- 
tolos, i.e. “arrayed in ornaments of 


gold.” The Paktolos was famed for 
its gold-dust. 
156. BapuvBpdpev: heavy-toned. 


Aesch. (Frg. 56) compares the tym- 
panum to subterranean thunder. 

156. LExtolling the Evian god with 
Evian cry. Cf. 141.—eiwa: cognate 
ace. 


160. Awrds: often in Euripides 


30 EYPINIAOY 


iepds iepa tratypara 


Bpéun, avvo OX. pouraow 


165 


eis dpos els Gpos: Sonera, S dpa, 
T@XOS OTrws apa parépu popBdd., * 


ff ; 
t-#lL-t4td % 
fi 


K@hov aye, TAXVTOUV oKIPTHMATL Baxxa. 


TEIPESIAS. 


170 
"Aynvopos maid’, 


Tis év mvdator; Kadpov exxdder Sduov 
ds TOW LWdewviav 


Lurov éeripywo aotv OnBaiwv dd«. 


¥ > , , o 
Tw TUS, Eloayyedre Terperias ort 


(nret vw: olde & adrds dv HKw Tépt 


175 


a TE fuveDeuny wpea Bus av YEPMTEpe: 


Ovpoous avdnrew Kal veBpav COp0s evew 


the flute, which was frequently made 
of the Awrds AlBus. 

161 ff. walypara, civoxa howrdow 
els Gpos: airs suited to the (Maenads) 
wandering to the mountain. —oitrdow : 
equiv. to poirdoais. 

165. dpa: then, introducing the 
effect of the leader’s call, which ends 
with the preceding sentence. 

166. dies: equiv. to ds. 

167. Lit. the bacchante urges for- 
ward her swift foot with bounding, i.e. 
bounds forward with swift foot. 

170-369. First Errrsopion. The 
characters are Teiresias, Kadmos, and 
Pentheus. The dignity and pious 
devotion of the venerable old men 
set off by contrast the rash impiety 
and haughtiness of Pentheus. The 
blind seer, Teiresias, enters, not as in 
the Phoen. led by his daughter, nor 
as in the O. 7. and Ant. of Sophocles, 
led by a boy. The god unseen leads 
him by inspiration (cf. 194). 

170. év wvAaor: i.e. as porter with- 
in the doors, in the @vpwpeiov.— éxxa- 


Xe: a similar transition to the second 
pers. imy. is found in 173, 346-348. 

175. dre Evvebépny xrA.: and what 
I agreed upon with him, I, though an 
old man, and he yet older. Notwith- 
standing their age they had agreed 
to take the bacchic dress and join 
the revel-dances. And in speaking 
of this, Teiresias at the same time 
expresses his consciousness that the 
new worship is worthy of the wisdom 
of age.—ampéoBus: extreme length 
of life is attributed to Teiresias. Ac- 
cording to one legend he lived seven 
generations. Thus, although he is 
represented in the Phoen. as a con- 
temporary of the sons of Oedipus, he 
could also be spoken of here as old 
in the time of Kadmos. It is doubt- 
ful, however, whether Euripides had 
any such legend in mind. The con- 
spicuous position of Teiresias in The- 
ban mythology made it easy to bring 
him into connection with any of the 
Theban legends, where it suited the 
purpose of the poet, 


BAKXAIL, 31 


oTepavovv Te Kpara Kicoivas BaoTHacw. 


® dirtal’, as onv ynpuv yobounv Kddvov 


codiy codod tap’ avdpds, év Sdmourw wv: 


180 


9 2 ¢ so »¥ \ a ee 
NK® 5 E€TOLILOS THVO EX@V OKEVYV eod. 24. apt 


Sa ydp vw ovta tratda Ovyarpds && euis, 
[Avévucov ds wédnvev avOpdrows eds, | I..x 
9 e a x »¥ , 

doov Kal? huas Swvariv avfeoOar péyar. 


A Lal , A , / 
TO det Xopevelv, TOU KaQtoravat 00a 


185 


A lal lal , 5 “~ , 
Kal KpaTa oetoar tohidv; eEnyov ov pou 


, l4 7 ‘ ‘ / 
yépav yépovt., Teipecias od yap odds. 

€ > , > x » , > ¥fpP ¢ , 
@s ov Kdpou. Gv ovre viKT ov ypépav 
Oipow Kpotav ynv émudedjope? Hdorn * 


yépovTes Ovtes. 


TEIPESIAS. 


¥ HSIN , ¥ 
TQAUT €MOL TACKELS APa* 


176. dvomrew: sc. xerpl, to attach to, 
i.e. to take inthe hond. Of. Frg. 752, 
cited Ar. Ran. 1211, Ardvucos ds Bup- 
goo Kal veBpav dopais xabamrds. Cf. 
also 25.— €xew: to wear. 

178. os xrA.: Wecklein comparing 
Hee. 1114, Soph. Aj. 14, O. C. 891, 
supposes Kadmos to begin his address 
to Teiresias before he comes within 
sight of the prophet, and to explain 
this on the ground that he has recog- 
nized him by his voice. But there is 
nothing here, as there is in all the 
-cases cited, to indicate that the person 
addressed cannot be seen. It would 
seem rather that Kadmos appears 
immediately upon the call of Teire- 
sias and before the servant has had 
time to summon him. 4s then intro- 
duces the cause of this immediate 
appearance, 


182. Avovveov: appos. to viv. 

183. écov...Suvarov: lit. so far as 
is possible as regards me, i.e. so far as 
rests with me. — avferOar péyav : to grow 
great. péyas is often used prolepti- 
cally with avtew. Kr. Spr. 57, 4, 2. 

184. ot xopeveww: 7.c. rot eAOdyTas 
xopedery. —Kahiordvar moda: to slay 
the foot, contrasted with xopedew, as 
orjves is with Aijva in set phrases. 
Cf. Ale. 863, rot BG; mE orG; Soph. 
Phil. 833, rod ordoe:, wot 5& Bdoe ; 

187. ds xrdA.: the ground of the 
command ényob. 

188 f. émdcdrjopeba. .. Svres: simi- 
larly the chorus of initiates in Ar. 
Ran. 346 ff. sing, yévu mdAAeTa yepdr- 
twv: &mocelovta: 5¢ Avwas xpovious 7 , 
ery makamy éviavtods iepas imd Times, 
the knee of old men leaps, and they 
shake off griefs and the long periods of 


32 EYPINIAOY 


190 Kaya yap 7B@ Kamixeipyow yxopois. 


ae KAAMOS. 


» 


a Cooke »” 
ovKOvY OxXOLTW Eis Opos TEPacopLEV; 


TEIPESIAS. 


> > > c , c \ 2 N y 
GAN’ ody Gpotav 6 Oeds Gv Tyshvy Exou. 


KAAMO3S. 


yépwv yepovta Tadaywyjow o° eyo. 


TEIPESIAS. 


¢ \ 3 \ a eg Pe 
oO Beds dpox ft KELOE VOV NYNOETAL. 


KAAMOS. 


195 


povor 6€ Toews Baxyxiw yopevoopev; 


TEIPESIAS. 


pdvor yap ed dpovodper, ot & addou Kakds. 


KAAMOS. 


pakpov TO péddew: GAN Euns Exou KEpds. 
2 


TEIPESIAS. 


idov, fbvarte Kal Evvwpilov xépa. 


aged years under the influence of the 
sacred service. 

192. ovx spolay: “not the same as 
if we went on foot.” 

193, maSaywyyow: not inconsis- 
tent with émyod (185). Kadmos calls 
upon Teiresias to direct by his super- 
human wisdom the course to the 
proper place for the rites, but sup- 
poses that the blind prophet needs 
his customary guide to lead his steps 
along that course. 

194. dpox@l: the toil becomes light 
to them through the influence of the 


orgiastic worship. Cf 66; also Ar. 
Ran, 400, deitov ds tvev mévov moAAry 
6ddv repalvecs. 

195. xopevoopev: join in the chorus, 
i.e. of the Theban bacchantes in the 
mountains. Cf. 1224. 

197. paxpov to péAAew: our delay 
is long. Kadmos is impatient to be 
gone. 

198. tS0¥: here then! expresses com- 
pliance. The blind Teiresias extends 
his hand that Kadmos may take it. 
Cf. 1265. — Evvarre . .. x€pa: grasp 
my hand and join it to thine own. 


BAKXAI. 33 


KAAMOS. 


> cy ek Lal A ‘\ , 
ov Karappovd eyo tov Dedv Ontos yeyds. 


feu yf Ay ‘* > Se pw A 


, TEIPESIAS. 


ovSev codilopecrba Total Saipoct. 


matpiovs mapadsoyas as & ouyhikas ypdve 


KexTy pe, ovdels atta KataBaret ddyos, 


>Q°> > > y¥ ‘\ ‘ wa la) 
ovd ei Ov dxpwv Td cody nupytar hpevav. 
Epel TIS @S TO YHPAS OVK aicxvvopat, 


205 


pedd\av yopevew KpaTa Kicoadoas ELor. 


> \ , 2. ¢ N ¥ x , 
OU yap ounpnx oO Beds ELTE TOV VEOV 


xpyle. yopevew cite Tov yepatrepor, 


GX’ €€ amrdvrwv Bovderar Tyas Exe 


Kowds, 80 /dpipar} & ovdev av€erbar Oéde. 


9 


KAAMO®. 


210 émei av déyyos, Teipecia, Tdd ody spas, 


200. codifoperba: explained by 
7» copdy. See on 203. 

Ss. 

201. mwapadoxds: Teiresias means 
traditional, especially religious, be- 
liefs. — ouyAtkas xpove : lit. coeval 
with time, i.e. existing from time imme- 
morial. 

202. aird: repeats mapadoxds, re- 
ferring to the thing without regard 
to the grammatical gender. —In the 
thought of the passage, as well as in 
the expression xaraBade?, reference is 
made to the Sophists. Protagoras, 
one of the most famous Sophists, 
published a work entitled KaraBda- 
Aovtes (sc. Adyor). A saying of his 
was: ep) uty Gedy odk exw cidévar 060 
as eicty, ov as ovK cial. 

203. “Not even if presumptuous 
wisdom has been reached by keenest 
subtilties of thought (3? uxpwy ope- 


vav).” —td vopov: the same expres- 
sion is found also in 395 and 1005 in 
connections where it clearly refers to 
the so-called wisdom of much of the 
current philosophy, whose subtilties 
were profitless and destructive of 
fundamental beliefs. Socrates (Plat. 
Apol. 20 D) speaks in irony of the 
same class of philosophers, as wise in 
a certain superhuman wisdom. 

204. épet: i.e. dvedre?. 

206. yap: “Not so, for.” —ov Suy- 
pnx’ 6 Beds xrA.: the god hath not de- 
termined whether, etc. The sentence 
forms no proper contrast with aaa’ é€ 
amdytwy...kowds. We should ex- 
pect here the thought, “the god has 
made no distinction between the 
young and old.” 

209. 8 dpipdv... Oder: “The 
god does not wish to be exalted by 
certain numbers, i.e. classes, as by 


34 EYPIUIAOY 


ey mpodyrns cor Méywr yernoopa. 


TleOeds mpos oikovs dd€ Sia orovdys mepa 


5) , “a eS 
Extovos Tal, @ 


c 


Kpdros Sidwpe yis. 


5 nw 
@S €nToynTat* Ti ToT Epel VEwTEPOV; 


ing & < 


MIEN@OETS. 


215 


exdnpuos dv pev THOS érdyxavov yOovds, 


kim dé veoypa THVS ava mrddw Kad, 


an ke! , $ / 
yuvatkas huty Somar’ éxehourévar 


mractator Baxxearow, év Sé Sackious 


HLH 


¥ , \ \ * , 
Opeaot bodlew, TOV VEWOTL OALILOVa 


220 


Lal 
Avdvucov ootis €oTL TYULdaas xopots 


, X , > , € , 
TAN PELS de Ouacrous ev PETOLOW EOTAVAL 


Kpatinpas, d\d\nv 8 dhdoo” eis epynwiav 


> 7 “~ 
TTOTTOVTAY EUVals apoevwv VITNpETELY, 


mpopaciw pev ws 8) Mawddas PvocxKdous, 


young men to the exclusion of the 
old.” Reiske. This forced interpre- 
tation is the best that has been sug- 
gested. The text is doubtless corrupt. 

211. wrpodyrns Adyav: the announcer 
of tidings, i.e. of the approach of Pen- 
theus. — rpopyrns: used with refer- 
ence to the prophetic character of 
Teiresias. Kadmos means, “as you 
are a prophet by means of your spir- 
itual sight, so I am a prophet to you 
by means of my physical sight.” 

212. Pentheus is seen approaching, 
returning from a journey and greatly 
excited by the information that the 
bacchie enthusiasm has so far taken 
possession of the city. He seems to 
be unaware of the presence of Teire- 
sias and Kadmos down to 248. His 
speech to that point is a monologue, 
like the prologue. — Std orovSijs: in 
haste. For the use of did to denote 
conditions or states, see H. 795 d. 


214. vesrepov: lit. newer, ve. than 
we already know; often used as here 
in a bad sense, a calamity. H. 649; 
Kiihn. 542 An. 7. 

218. mAacratot Baxyelao: for 
Jeigned revels, contrasted with what 
Pentheus in 223 gives as the real 
purpose. 

222 f. GAnv... wrdccovray: one 
Slying here, another there, to a place 
apart, and crouching down. — @d Xoo els 
épyplav: with the idea of flying im- 
plied with rréccovear. 

224. mpdhaciw: often used adver- 
bially, ostensibly. — ds (otoas) Sy: with 
ironical force. Cf Andr. 284f., ceu- 
vouvdeis ... &s Bh ob odppwr. Kiihn. 
500, 6. The clause, though joined 
grammatically with éanpereiv, goes in 
thought with the whole preceding 
description, beginning with BSéuar’ éx- 
AcAourévar. — Bvoorkdous : performing sa- 
cred rites. 


BAKXAT. 35 


225 tiv S “Adpodirny tpdcPf ayew tod Baxyiov. 
doas pev ouv etdnda, Seopiovs xépas 


, , /, / 
c@lovor ravdnpoot tpdamTo\o. oTéyats: 


9 3 >” 5 ¥ , 
doa 8 draow, e€ dpovs Onpdoopat, 


Ive 7 ’Ayatnvy 0 yp Erixr *Exion, 


230 


*Axratovds Te pntép, Avrovdny héyo. 


\ “A a e / > ¥ 
Kal odas oiOnpats apydoas év apkvor 


Tavow Kakovpyou Thode Baxxeias Taya. 


__ déyovar & ads tis ceived dvde Eévos 


yons 7 @OOs Avdias azo xFovds, 


EavOoior Boorptxoirw eidcpois Kopar, 


> fk , 5) , ¥ 
OWWTOS, OOOOLS XaPLTas Adpodirns EX@r, 


a a’: > , , = ln ike 
Os NuEpas TE KEUppovas ovyyiyveTau ~~~ 


A 4 , 
TeheTas TpoTelvav eEviovs vedviTW. (ne* 


> > | eee. ¥ A , , 
ei 8 adrov elow THade Apoyar oTeyys, 


, A , > , , 
TAVO@ KTVUTOVVTA O3poov AVACELOVTA TE 


Kdpas, Tpaxnhov THLATOS Kwpls TELOv. 


a 


225. S€: instead of 7d St dAnéés in 
contrast with rpépacw pév. — wpoabe : 
cf. the use of imicGev in Soph. Ant. 640, 
yvopuns watpgas wdv7’ imicbev Eotdvat. 
— dyew: instead of dyotcas, the con- 
struction changing to that of the 
leading clauses dependent upon Kado. 
But in reality they prefer Aphrodite to 
Bacchus. 

226. xépas: acc. of specification. 

227. mwav8rjpour oréyats : equiv. to 
Secuwrnply. 

229. *Extow: one of the five Spar- 
toi (264) who survived. 

231. dpxvor: i.e. decpois. 

234. yons émwSds: the same as 
yéns kat éxydds, Hipp. 1038. 

235. Boorpixot Kopav: with long 
curls. Cf. eelpnow xoudwrre, Hom. 
Zl. yr. 42. The representation of 


Bacchus in the full bloom of youth, 
with languishing look and effeminate 
features (@nAvpophos, 353), was the 
conception prevalent in Greek art in 
the time of Praxiteles also. 

236. olvwmes (the usual form in 
the nom.), ruddy. Cf. Soph. O. T. 
211, oivara Bdexov.— doco: dat. of 
place. 

238. mporelvwy: putting forward as 
a pretext, pretending. 

242-247. These lines are regarded 
as an interpolation on the ground 
that they disturb the continuity ; the 
same is true of the very insipid pas- 
sage, 286-297, corresponding to this 
in the answer of Teiresias. The two 
passages seem to be additions com- 
posed with reference to each other. 


36 EYPINIAOY 


> td 
[€xetvos elvai pneu Avévucoy Oedv, 


EKELVOS €V LNp@ mot éppddbar Aubs, Sou. 


t+, Wein 


ae 4: 


os crarupouras Aapmdow Kepavviats 


245 


ovv pntpt, Aiovs ore ydpous eedoaro. 
a > Lal > / 4 > ¥ 
TadT ovyi Sewhns ayxdvyns €or’ aia, 


Aas i 


bBpes bBpilew, doris Eotw 6 vos; ‘J 
drap 768° dddo Oatpa, tov Tepackomoy Vref halos 


év mroucchoure veBpior Tetpeoiar Opa 


250 


mar épa TE PNTPOS THS Euns, word. yédov, 


“ » age 4 yx , > > , 4 
vapOnk. Baxxevovts davatvopar, rare, 
TO ynpas tpav eloopav vodv ovK Exov. 


5 5 4, , 
ovK amoTwaters KLToOV ; 


ovK éhevlépay jin 6 


Oipoov peOjoas xeip, euns pytpos warep; 


242. elvar xrdr.: he says there exists 
a god Dionysos. On the use of efva, 
cf. 333. 

243. éxetvos: sc. myal, the pronoun 
repeated with scorn. — éppddOa.: the 
subject is to be supplied from the 
following relative. 

245. Cf. 31. 

246. dyxovys dfia: commonly trans- 
lated, worthy of hanging. Cf. Heracl. 
246, 768 dyxdvns wédas, Soph. O. T. 
1374, epya xpelocor’ ayxévns. Others 
understand &yxdvn of suicide in all of 
these places, and take the meaning 
to be, that the deeds spoken of are 
shameful enough to make the doer 
commit suicide. But this seems 
forced, and in this passage especially 
inappropriate to verse 247. Perhaps 
the simplest interpretation is, worthy 
of strangling ; for while hanging does 
not appear to occur as a judicial 
penalty until later, strangling occurs 
not only as a common form of mur- 
der, but also as a method of summa- 
rily inflicting an ignominious punish- 


ment. Of. Ar. Av. 1575, 1578, Nub. 
1376, also Dem. In Timoc. 744, where 
it is said, that among the Lokrians 
the proposer of a new law wore a 
halter about his neck, and, if his 
proposition was not approved, he was 
immediately put to death émomacdéy- 
Tos TOU Bpdxov. 

247. tBpes: pl. in reference to the 
various. outrages attributed in the pre- 
ceding part of the speech to the sup- 
posed bacchant. With the cognate 
ace. an attributive is generally used 
(H. 715 b, Rem.), but sometimes omit- 
ted. Of. 1297, Iph. A. 961, Hel. 785. 
— vBplfeav: in appos. with radra. 

251 f. Baxxevovr’: may be taken 
in either the dual or the sing; if the 
latter, it does not imply that Teire- 
sias had not the thyrsus. Cf. 176. 
—dvalvopa. elropav: “it is hateful 
to me to see.” Cf. H. F. 1235, eb 
Spdoas 8€é o” odk dvalvoua, Iph. A. 1503, 
Qavodca & otk dvalvouat.— warep: ad- 
dressed to the grandfather in 1322 
also. 


BAKXAI. 37 


2 »¥ 
ov TadT ereioas, Teiperia: Tdvd ad Oédes 


oO KOTELY mrEpwTods KapTupov puoBovs pepew. 
el Ly oe Yipas moduoy é€eppvero, ~. 6H 95 


as stodyen: yovansi yap 


ir pvos & Sart yeyreras yavos, Aibeg ht 


@® &&y, ovK aidet Deods 


Kddpov te Tov omelpavta ynyern otdyxur ; 


255 
TOV Saipov’ avi pdrowrw sarge hepa véov 
Kabno av ev Baxxaior déoptos péoas, 
260 peherds PZ AS 
Omrou 
ovy Syués » o88tv ert hé€yw TaV dpyiav. 
XOPO3. 
ms SvoceBeias. 
265 


> , > a Lal , 4 
Exlovos 8 dv mats Katauryvves yevos; 


TEIPESIAS. 


9 , “A / ae. X\ 
otav a Byn Tis TaV oywv avyp odds 

\ Py , > > > , 
Kahas adopyas, ov péy epyov ev héeyew: 


255. av: further, with oxomeiy and 
géepew. “You wish for further oppor- 
tunities for augury and gain.” 

257. wrepwrovs: i.e. oiwvods. The 
two kinds of divination here men- 
tioned, from birds and by fire, are 
attributed to Teiresias in Soph. Ant. 
999 ff. also. —proSots dépev: in this 


expression the invective of Pentheus’s. 


speech culminates. A similar charge 
is made against Teiresias in Soph. 
Ant. 1055; id. O. T. 388 f. Such 
censure of false prophets is common 
in Euripides (cf. Iph. A. 520, Hel. 744), 
and-is due to the conduct of the 
mendicant soothsayers and jugglers 
of the time. 

259. Bdxyator: those spoken of in 
226 f. 

260. yuvat(: emphatic, contrasted 
in thought with men. 


262. vyrés: pred. to ovdév. T count 


nothing further in the orgies good, lit. 
sound. 

263. SvoceBelas: Ah, thy impiety! 
The gen. shows the cause of the 
astonishment expressed. H. 761; G. 
178, 3. 

264. ynyevy: because the so-called 
Spartoi sprang out of the earth from 
the sown teeth of the dragon. Cf. 
1025 f. 

266 f. Trav Adyov Kadds dhoppds: 
a noble theme (lit. occasion) for speak- 
ing. Of. Hec. 1238 f. Bporotow ds ra 
XpnoTda mpdypnata xpnotaey &popuas évdi- 
dwo’ del Adywv. In these and the fol- 
lowing lines, allusion seems to be 
made to the contrast between the 
true «d Aéyew and the sophistical 
rhetoric of the time. The former 
demanded brilliancy of form and 
skill in discourse less than the right 
content; the latter boasted that it 


38 EYPINIAOY 


‘ Ss ¥ A la) e an ¥ 
ov 0 evTpoxoy pev yhoooay ws Ppovav Exes, | 
> “A , 3 > ¥ of / 
€v Tots Aéyouow SD ovk everoi cou ppeves. 


Opacds 8 [ydcoy] Kal déyew ofds 7°) dvhp 


otros 8 6 Saipev 6 véos dv od Siayedas, 


, , > , 
Svo Y@p; @ VEAVLA, 


Anpyrnp Bed: 


yn & éoriv, dvona & brdrepov Bovdeu Kade 


ds 8 HdOev emt ravrimadov 6 Yewedys yovos 


270 
\ 7 , a > ¥ 
KaKOS ToNiTns ylyvera vobv ovK Exar. 
> x , ager > a 9 
ovk ay Suvainny péyeOos ekeurely doos 
Kal? “EAA” eorrau. 
275 Ta mpaT ev avOpadro.ce* 
avtTn pev ev Enpotow extpéper Bporovs: 
, ¢ ‘ eae 5 , 
Borpvos bypov Trap’ nbpe KeionvéyKaro 
280 


Ovytots, 6 Taver Tods Tahaurdpouvs Bpotods: 


hurys, Otay tAnTOGoW aptrédov fo7s, 


could make the worse the better 
reason. 

270. yAdooy: substituted in the 
text for duvvardés, which is regarded as 
a gloss upon ofés te. Of. Soph. Aj. 
1142, avdpa yAdéoon Opacir. 

272. 6 Salpwv: the subj. of @ora, 
placed at the opening of the sentence 
for emphasis ; or perhaps better taken 
as anacoluthic, instead of the gen. 
after uéyedos. The nom. sometimes, 
where the grammatical structure 
would require another case, stands 
at the beginning of the sentence to 
emphasize the subject to which the 
whole sentence relates. Kiihn. 356, 6. 

273. Cf. Accius, Bacch. Frg. 1x., 
neque sat fingi neque dici 
potest pro magnitate. 

274. 8vo: i.e. food (277) and wine 
(279). 

275. Oed: subj. of éerpépe:, but re- 
' peated in afrn because of the paren- 
thesis yA... «dAeu. 

276. yy 8 éoriv: with reference to 


the supposed etymology of Anphrnp 
as a compound of +4 and uArnp, which, 
however, is doubtful. Ahrens, whom 
Curtius (Ztym. 5th Ed.) follows, con- 
nects the first part 5&4 with the root of 
Stos. 

278. AOev ew ravrimadov: Weck- 
lein translates, has reached equal im- 
portance with her, But many editors 
read 6 instead of és; and this may be 
taken (1) as the neuter relative re- 
ferring either to the whole sentence 
6 SeuéAns... Ovnrots, or to maya alone, 
(2) as the demonstrative referring to 
Dionysos. This reading with the sec- 
ond interpretation preserves the bal- 
ance of the contrasted clauses better 
than the reading of the text. The 
meaning thus obtained is, but he, the 
offspring of Semele, has come to the 
opposite (has met the corresponding 
want, i.e. drink), he has found out the 
flowing beverage of the vine. The asyn- 
deton thus produced in 279 presents 
no difficulty, as the line is an expla- 


> | 
j 


BAKXATI. 39 


bavov te HnOnv tov Kal? Hyépay KaKav 


Sidwow, odd €or ado ddppaxov wover. 


otros Geotot orevderar Oeds yeyds, 


Y ‘ nw > 4 > 4 yy 
@oTe Sia TodTov Taya avOpamTovs eyew. » 


[kai katayehas vw, as eveppddyn Aids 
“A , > e A ¥ / 
pnpe@; Siddko o as Kards exe 7d8de. 


eret viv Nptao éK aupds KEepavviov 
Zevs, cis S “Ohvprrov Bpéhos avyyayev Oedr, 


290. 


"Hpa vw 7Oer éxBadew am odpavod: 


Zeds & avteunxavical’ ofa 3} Oeds. 


HF 4 l4 A 43 > la 
pygas pépos Te Tov xOdv’ eyxuKXNovpévov 


aif€pos, Onke Tévd Sunpov éxd.ido0ds 


, > . , , , 
Avovvoov Hpas veikéwv: Xpove@ 5é vw 


nation of the preceding. H. 1039. 
Schone points out that this bringing 
together of Demeter and Bacchus 
contains an allusion to their union in 
the mysteries. 

284. omévSera:: is poured out in liba- 
tions. The same immediate transition 
from the god to the thing is found 
in Ovid, Met. x1. 122, miscuerat 
puris auctorem muneris (i.e. 
Bacchum, vinum) undis. 

285. Sid rovrov: i.e. through liba- 
tions which please the gods, and thus 
bring blessings to men. 

286-297. Most editors reject these 
lines. Teiresias is praising Dionysos 
as the giver of wine (279), the inspirer 
of prophets (298 f.), and the author 
of panics in armies (302 ff.). It is 
not easy to suppose that the poet in- 
terrupted the recital of this list of 
offices to explain a legend having 
no connection with them. See on 
242 ff. 

289. Beov: i.e. ds Gedy bya, the rea- 
son of cis “OAvumror dyvfryayev. 


291. ota Sy Geds: like a god, i.e. as 
only a god could devise. 

293 f. One... verxewv: the sen- 
tence is obscure. Hermann construes: 
tévde (ai@épa) @0nxe Ardvucoy, Sunpov 
éxdid0ds, he made this (the piece of 
ether, into an image of) Dionysos, giv- 
ing it as a pledge against the contentions 
of Hera, i.e. that the contentions might 
be brought to an end, if Hera should 
have Dionysos, as she supposed, in 
her power. The real Dionysos was 
sent to the nymphs to be brought up. 
The arrangement of the words would, 
however, suggest the taking of dy7n- 
pov as pred. to révde, which is mas- 
culine in reference to ai@épos or by 
attraction into the gender of the predi- 
cate word. The meaning then is: he 
made this a pledge, giving away (the 
real) Dionysos out of the reach of the 
contentions of Hera. The Schol. on 
Apollod. m1. 4. 3, says that Zeus trans- 
formed Dionysos into a kid. Similar 
to the story of the text is the legend 
that Zeus, in order to ensnare Ixion, 


40 EYPITIIAOY 


295 


Bporot tpadjnvat dacw &v pnpe@ Ads, 


ovoma petaaTnoavtes, OTL Deg Beds — 

"Hpg To? apnpevoe, cvvOévres dyov. | 

pdvrrus & 6 Saipwr de: 7d yap Baxxetioryovs venged 
Kat TO Haviades parr uct Aroha EXEL" 


"a b. / ‘\ , Lal 
héyew TO péddov TOUS PELNVOTAS 7OLEL. -. 


étrav yap 6 beds cis TO cap’ EO Todds, = offeclid 


/ 
LLRBVO LAS 


¥ , la) \ ¥ , 
Apes Te potpay petakaBav exer Twa: 
x ‘ > 9 ¥ 24% / 
“& otpatov yap év omdow ovTa Kam Tafeor 


poBos Suertonoe mplv Adyyns Ovyeiv: 


305 


made a phantom in the form of Hera; 
and also the story of the phantom of 
Helen. Such a phantom is spoken of 
below, 630. 

295 ff. When they heard that Di- 
onysos had been a hostage, 8unpos 
(Guhpevoe = Sunpos éyévero), confusing 
Sunpos with 6 unpds they invented the 
story (ovvOdvres Adyov), év unpge Ards 
Tpapjval viv. 

299. Cf. Hec. 123, wavrimddos Bdxxn, 
Verg. Aen. vi.78, bacchatur vates. 
An oracle of Dionysos in Thrace is 
mentioned. Cf Hec. 1267. Hdt. vu. 
111. Also one in Phokis is mentioned 
in Paus. x. 33, 10. Dionysos, like 
Apollo, inspired his priests, and raised 
them into an ecstasy in which divine 
revelations were supposed to be re- 
ceived. See on 306. 

300 f. wodvs: with might. Cf. Or. 
1200, +d rp@rov hy wodAds rapf. Some 
editors bracket these lines on the 
ground that they attribute the pro- 
phetic power to intoxication, and are 
therefore not in keeping with the 
higher conception of the preceding 
sentence. 

302. And he has obtained some share 
in Ares’s honors.— potpay : cognate acc. 


, $2 \ rath Sin ee. , , 
Pavia O€ KAL TOUT EOTL Avovuaouv Tapa. 


303 ff. The “panic” terror here 
ascribed to Dionysos is commonly at- 
tributed to Pan, but sometimes also 
to other divinities, as in Med. 1172, 
Tlavds 4 tids Oedv. In 758 ff. the 
band of bacchantes puts to flight an 
armed host, and Wecklein supposes 
that it is only in this way, that is, 
through the agency of the bacchantes, 
that Dionysos can be said to inspire 
this terror. But the flight there de- 
scribed is quite different from that 
spoken of here. The armed men, so 
far from fleeing through fright before 
they have hurled a spear, attack the 
bacchantes, and do not flee until they 
are overpowered by their opponents’ 
arms. Line 305, in which this influ- 
ence is yet more distinctly attributed 
to Dionysos, is bracketed by Weck- 
lein, following Pierson, on the ground 
that the bacchic pavia is always a 
gladdening inspiration. This, how- 
ever, can hardly be said of the pa- 
via (cf. éupavets, 1094, also 1122 ff.) 
of the bacchantes in the slaughter 
of Pentheus. The epithet pedavas- 
yis, sometimes applied to Dionysos, 
seems to refer to his power to inspire 
terror. 


BAKXAI. 41 


ér avrov oper Kami Aekdiow mérpas 

~ x 4 , , 
mdavta ow tevKaior Suxdpudov taxa, 
ma\\ovTa Kal ceiovta Baxyetov Kadov,~- 


péyav tT av ‘“EdAaO’. 
310 


adhd’ euwoi, TevOed, wiBod- 
A .% 4 »” 8 4 > 0 7 ¥ 
pe TO KpaTos avyer Sivapiv avOpadrois Exeww, 


pnd jv Sons per, 7 Sé€ d6€a cov voo7n, 

Lal , ‘ ‘ > > “A 4 
dpovety Sdxer Tu Tov Oedv & eis ynv Séxou 
‘ la ‘ Y . td PF . 
Kal omévoe kat Baxyeve Kai orépov Kapa. 

ovx 6 Awvuaos cwdpovety dvayKace 


315 


yuvaikas eis THY Kimpw, add’ &v tH dices 


‘\ “~ ¥ > ‘ , > 4% 
[7d cwdpoveiy &veotw eis TA TavT Get] 
TOUTO’ oKoTEW xpy* Kal yap év Baxxetwaow 
o>. 9 , > , 
ovo 4 ye THdpwr ov SiadOapHoera.. 


-Opgs, od xalpes, drav 
320 oddol, Td Tlabéas & 


306. The gleam of torches was fre- 
quently thought to be seen on Par- 
nassus coming from the processions 
of the bacchantes. The poets often 
speak of the celebration of the bac- 
chic rites there. Cf. 559, Phoen. 226, 
Iph. T. 1243, Ion, 714, Soph. Ant. 
1126. Attic women went there, espe- 
cially at the time of the Lenaia, to 
celebrate the trieteric orgies of Bac- 
chus. Rhodope, also, and other places 
were sacred to Apollo and Dionysos 
alike, and in many places the two 
divinities were worshipped together. 
This has been explained by the promi- 
nence in the worship of each of the 
ecstasy inspired by the divinity. See 
on 299. See also Preller, Griech. 
Myth. 1. p. 221 f. 

307. mnSavra mAdKka: cf. xwpoicr 
bmordoes, 748 f., Opdoxe: medlov, 873. 
Intr. verbs of motion often become 
trans., taking the acc. of ‘the space 
over which the motion extends, a 


edeotaow TUdaLS 
WU ratty , 
ovowa peyaduvy mod.s: 


const. not to be confounded with the 
ace. of extent of space. H. 712 b, lat- 
ter part; G. 159, n. 5. 

308. «mdddovra kal celovra: cf. 
éveuots Kal OvéAAacw, 350. 

310. avyxer: boldly fancy. * Do not 
fancy that mere sovereignty without 
wisdom is a real power for its pos- 
sessors.” 

311. SoKxys: entertain an opinion. 

314f. The answer to the charge 
of Pentheus in 222 ff., “Fear not 
injury to the chastity of the women. 
Dionysos will not lead to unchastity 
nor compel chastity; these depend 
upon the nature of the person, and 
not upon the influence of the god.” 
— cadpovetv els tHv Kump: to con- 
trol one’s self in Love, to be chaste. 

317. rotro: repeats Tb cwopoveiv. 
—kal év Baxxedpacww: even in bac- 
chic revels, which you think destroy 
chastity. 


42 EYPIDIAOY 


KQKELVOS, otjaaks Téprerau TYLEPEvOS, 


eyo wey obv Kal Kddpos, 6 ov ov Suxyehgs, 
KUTT@ T €pe bpccrba Kab Xopedroper, 


A 


f° : Eped tJ 


moda Evvupis, AN’ Suws yopevréor, 


325 


Kov Oeomayyjow cav d\Mywv weicbels dro. 


ld ‘ e ¥ A , 
paiver yap ws adyiota, KouTe happaxots 
¥ , Xd vp , »” 
axkn aBous Gv ovr’ avev TovTwy evel. 


XOPOS. 


@ peo Pv, PotBov 7° ov KATULO NUDES Aoyous, 
Tysav TE Bpdprov owdpovels péeyav Oedv. 


KAAMOZ2. 


330 


5 al nw v td 
@ Tal, KaN@S gor Teiperias TApyverev* 


¥ ec al ‘ vd “A , 

oles pe? yuadv, wn Ovpale Tav voor. 

“ ‘ 4 ‘ “ > A ~ 
vo yap mérer TE Kat hpovadv ovdev dpovets. 
r > ‘ ‘ ¥ c ‘ e e ‘ ld 
Kel py yap eotw 6 Beds obros, as od dys, 

‘ ‘ , ‘ 4 lal 

Tapa oot eyéoOw: Kai Karaevdov Kahds 


321. Of. Hipp. 7£., tveors yap dy 
kav Oe@v yéver Tdd€, Tiudpevor xalpov- 
ow avOpérwy bro. 

326 f. patver ds dAyiorra «rA.: thou 
art most sorely mad, etc. The madness 
of Pentheus is compared to a malig- 
nant disease. —otr dvev rovTwv (sc. 
ax@v) Exe: thou shalt not be without 
these. “Thou shalt find remedies in 
thy terrible death.” 

328. PoiBov: the seer Teiresias 
stands in special relation to Apollo, 
the god of prophecy. In Soph. 0. 7. 
410, he says to Oedipus: od ydp 7: ood 
(@ BobAos, AAG Aokla. 

331. olker pO” tpav «rA.: dwell with 
us, not apart from thy people’s usages, i.e. 
“follow us in reverencing the usages 
of religion.” Cf. 890 ff., also 342. 

332. mwére: thou art beside thyself. 
mérecOat, to lose self-control, is the op- 


& 


Riise 


posite of karacriva, to recover self- 
control, Of. Soph. Ant. 1307, avérrav 
~éBy, I am distraught with fear. — dpo- 
vay ovdéy dpovets: “thy wisdom is 
unwisdom.” 

333-336. The thought of this pas- 
sage, if it indicate in Kadmos himself 
any want of faith in the divinity of 
Dionysos, is inconsistent with the 
character attributed to him elsewhere 
in the play; and in any case the 
motive set forth is unworthy of that 
character. Further, the earnestness 
of the warning in 337-342 is not in 
keeping with such a concession to 
Pentheus’s unbelief. The passage is 
probably interpolated. 

333. %orrw: exists. Cf. 517. 

334. wapa col AcyeorOw: with thy- 
self let it be said, contrasted with the 
following. ‘Say it to thyself and 


aoe 


BAKXAI. 43 


335 as eo, SeueAn O wa Soxn Ocdr Texew, 
ape TE TYAN TaVTL TO yever ™pooy. 7 
Spas. Tov “Axtaiwvos dP Mov pdpov, — 
dv adoro. oxddaxes ds eOpaparo 


SucomacarTo, Kpelooov" ev Kuvayiais ites 
> A , 8 > , Sion ewer 
PTEpe OS ElVat KOLTACQVT > eV opyaouv. 


& py TAOns ov, Sedpd cov ordbw Kapa 
Kico@: pel nyav To Oe@ TYysjv Sidov. 


MIEN@ETS. 


ov py Tpocoices XEtpo Ranxevees Si lay, 


pnd eSopdpser pepiay my on €“0l ; art ke 
THS ONS & dvotas Tovde Tov SidadcKadov 


345 


Stxny péreyur. 
declare the falsehood openly.” — xa- 
Ttaevsov xadds: “tell the glorious 


falsehood.” Cf. Soph. Ant. 74, do. 
mavoupyhoaca, having done deeds of 
pious crime. 

339 f. Sveemdcavro: the mid. in 
the sense of the active. Cf. Hec. 1126. 
—Kpelroova...kopmdcayra: acc. to 
one legend, it was a similar boast that 
aroused the anger of Artemis against 
Agamemnon at Aulis. Cf Soph. El. 
568 ff. Similarly the presumptuous 
words of Aias brought upon him the 
vengeance of Athene. Cf. Soph. Aj. 
756 ff. Other grounds given for the 
punishment of Aktaion are, that he 
ineurred the wrath of Zeus by woo- 
ing Semele, or that he saw Artemis 
bathing. The last is the most com- 
mon form of the legend. Cf Apollod. 
111. 4.4.— dpydow : dpyds is used espe- 
cially of woody mountain tracts. Cf. 
El. 1163 f., Rhes. 282. 

341. Seipo orépw: with this use 
of the subjv. (hortative subjv., H. 866, 
1; G. 253) is commonly joined éye, 
$épe, or some similar expression, less 


Le 


4 
OTELYETW TLS WS TAXOS, 


often deipo. G. 253, n.; Kiihn. 394, 4. 

343 f. ob py mporolcets KrA.: if 
this idiom be taken as a question, as 
printed in the text, it is to be ex- 
plained as follows: Won’t you not lay 
your hand upon me but go and revel, 
etc.? i.e. Do not lay your hand upon 
me but go and revel, etc. Hadley, 1st 
edit.,710 a; Kr. Spr. 53, 7,5. Others 
omit the question-mark with such 
sentences, and explain the future as 
equiv. to an imv., and od uf as having 
the force of a strong single negative. 
GMT. 89, Rem. 1; G. 257 and n.; 
Hadley-Allen, 1052 a. The sense is 
essentially the same in either case. 
— éfopopter: the coarseness of the ex- 
pression marks the angry excitement 
of Pentheus. 

345. dyolas: dependent directly 
upon dixny, but in thought supple- 
menting diddoKadov. : 

346. Siknv: cognate ace. Cf 516, 
tmowa péresot, Aesch. Lum. 230, dixas 
peéreyu tévde para, Or. 423, werHrAOdy 
@ aiua pntépos.— tis: one of the 
Sopupdpa: attending Pentheus. 


4d EYPITIAOY 


é€\Oav Sé OdKovs Todd WwW’ olwvocKorreEt 
a 4 > 4 ¥ 
pox)ois Tpraivov dvdr peyov cworadun, 


dvw KdTw® Ta TavTAa ovyxéas 6mov, | 
Kab oreppar’ dvémous Kat com pees. 


350 


wate 


péduore yep vw dijon Spdcas TAOE. 
ot 8 ava wodkw oteixovres e€uyvedoarte 
‘\ 4 , 4 > , 4 
Tov Onddpopdhov Eévov, ds ciodhéper vdcrov 
Kawny yuvarst Kat héyn vpatverar. 


355 


» , , , 
kavrrep \d Byte, Sécpr0v topedoarte 
a 3 a. c x 4 , ‘ 
Sedp’ adrov, as av evoipov Sikns Tvxov 
Odvy muxpav Baxxevow & OnBas ddr. 
a es, i Attire 


Rene 
A 


TEIPESIAS. 


® oxétl’, as ovdK olaOa ov Tor’ et Adyar. 
cA + \ \ 37 lal 
péunvas non Kal mpl e&éotns ppevav. 


360 


oreixopev nels, Kddpue, xa€artapca 


¥” 
vmép TE TovTOV KaimEp OVTOS aypiou 


347. Teiresias’s seat of augury is 
spoken of in Soph. Ant. 999 as za- 
Aaidy Baxov dpyvi0ocxdrov. Even in the 
time of Pausanias there was a place 
of augury at Thebes called oiwvocxo- 
meiov Tepeciov. Cf. Paus. 1x. 16. 1. 

348. tpialvov: overthrow, The term 
is borrowed from Poseidon’s upheaval 
of the sea with his trident. Cf H. F. 
946, Ta KuxAdmray BdOpa oidhpy ovr- 
Tpiavdow.—Eptradw: upside down, re- 
peating the force of avd in dvdrpepor. 

349. Throwing all pell-mell together. 
tivw re kal kdtw also occurs in 741, 753. 

350. oréppara: the fillets of wool 
with which the augur’s seat was 
decked. The place of the oracle in 
the temple at Delphi is spoken of in 
Ton 224, as oréupacl y éevdurdr. 

351. The pettiness of Pentheus’s 
spite is in keeping with the shallow 
character attributed to him through- 
out. 


352. ot S€: others of you, here, as 
often, without preceding o? wév, when 
a division into contrasted clauses is 
not at first thought of. 

356. Aevoipov Sixns: cf Or. 614, 
Aevomov Sodva Sixnv, Heracl. 60, rAcd- 
oyos péver dixn. — Sleys : pred, to 
Aevoluov. 

357. mxpdv: pred. to Bdexevow. 
Cf. Med. 398, wixpods Ohaew yduous. 

358. ds xrA.: the explanation of 

oxerAse. 

359. pépnvas KTh.: now thou art 
raving mad, and before thou wast beside 
thyself. Teiresias means, that at first 
in seizing the bacchantes and utter- 
ing threats against their leader, Pen- 
theus was beside himself, but that 
now in ordering the sacrilegious de- 
struction of the augur’s seat and the 
seizure of the bacchant himself, whose 
real character is doubtless understood 


ee 


BAKXATIT. 45 


€ - 4 ‘ ‘ A rad 
tmép te modews TOV Oedv pndéev véov 


dpav. 


> 7, ¢ / 4 # 
aX €rov por Kiooivov Bdxtpou péra: 


lal Sek. la PE GN > ‘ ‘\ id 
TELP@ 5 avopBovv O@jL €ov Kayo TO OOoV* 


, re > ‘ 4 Lal ¥ > 9 
yépovte 5 aicyxpov Sto mece: itw 8 opmos. 


7 Bayi yap to Avs Sovdevréor. 
IlevOeds 8 ows py) tévOos eicoice Sdpuous 
Tois goto, Kddue: pavtixn péev od héyo, 
Tois mpdypaow Sé- papa yap padpos héye.. 
XOPO3. 


4 nw 
370 ‘Ocia morva bedr, 


‘Ocia & & Kata yar 
by the prophet, he has advanced to 
sheer madness. 

362. véov: i.e. xaxdy. See on 214. 
Cf. Med. 37, wh 1 Bovacicn véov. 

364. Kayo: sc. weipdcouat avopodr. 
For the ellipsis of the ind. after the 
imy. cf. Soph. Ant. 85, xpug@ 5 KedOe, 
aiv & abrws éyé (sc. xevow). 

365. tre: let it pass, i.e. let come 
what may, a formula used in dismiss- 
ing anxiety or opposition; here, anx- 
iety lest they fall. 

367. Ilev@evs, aévOos: the poets 
often found in the name of a person 
a prophecy of his fate. Cf 508, 
Soph. Aj. 430. For a large number 
of similar plays upon proper names, 
see Elmsley’s note on 508. Sandys 
paraphrases this passage: “Beware 
lest Pentheus bring into thy house 
his namesake sorrow.” — émws: sc. 
oxémet, often omitted before érws with 
the future in earnest warnings. H. 
886; G. 218, n. 2. 

368 f. “It needs no prophetic art 
to foretell the coming of evil; that 
will follow naturally from Pentheus’s 
folly.” — Kadmos and Teiresias, lead- 
ing each other, pass out to join the 
Bacchic dances in the mountains. 
Pentheus remains outside the palace 


Zrpod7 a’. 


awaiting the bringing in of the sup- 
posed Lydian, 7.e. Dionysos. 

370-433. First Srasimon. The 
Chorus express their horror of the 
profanity of Pentheus in treating with 
contempt the divinity that dispenses 
joy and heals care (o7p. a’); recite in 
contrast with the blessings of a peace- 
ful and prudent life the misfortunes 
that follow unrestrained folly and 
over-subtile speculation (avr. a’) ; utter 
their longing to come to the places 
sacred to the god where it is permitted 
to celebrate the orgies with Aphro- 
dite and the Muses (orp. 8’); praise 
the god as the friend of mirth and 
the foe of austerity and rationalizing 
subtilties, and finally avow their ac- 
quiescence in established customs and 
beliefs (avr. 6’). The thought is simi- 
lar to that of the second stasimon in 
Aesch. Prom. (526 ff.), which praises 
peace with the divinity and an undis- 
turbed life. 

370. ‘Octa: sanctity is here per- 
sonified and addressed as the embodi- 
ment of all that is hallowed among 
the gods themselves and among men 
in their relation to the gods. 

371 f. 8€: the contrast is between 
Gea and kata yav.— a... pépers: who 


46 


375 


EYPINIAOY 


xpvoéav mrépvya dé€pets, 
rase TlevOdws dies; 
37 > c i$ 
aieis ovy ooiay 
4 > A , 
vBpw eis Tov Bpop.or, 
Tov Lewéhas Tov Tapa Kalhiorepavcis 
evppocvvais Saipova mpa- 
Tov pakdpav; os TAS” Exel, 
Piacwevew TE Yopots 

, > 5 n , f > 
peta T avrov yedaoar — 6% 
amTroTavaat TE pepipvas, be 


omdtav Bdtpvos €hOn 
, 5 A nw 
yavos év dati Dear, 


Kusaopopois & ev Oadiaus +> 


> / -+3 
axartivav TTOMATwV 
> / > > 4 
avouov T adpoovvas 
‘ , 7 
TO Ttéhos SvoTvyia* 
c A “A € 7 
6 5€ Tas Hovyias 
bearest thy golden pinion over earth, i.e. 
who art borne on golden pinion over earth. 
The golden pinion figures the beauty 
and glory which men see in sanctity. 
374. otx dolav: equiv. to dvoclay. 
376 f. Cf. Hom. JI. x1v, 325, Aiévv- 
gov, xdpua Bporoiow, Hes. Th. 941, 
Aiévucov moAvynOéa. — Tapa... pd 
tov: first in bright-crowned banquets, the 
epithet being transferred from the 
person. Cf. 384, kccopdpois Oarlas, 
872, udx8os axvdpduos. Chaplets of 
myrtle, roses, violets, and ivy were 
given to the guests at the banquets. 
378. rade: explained by Oiacevew KA. 
379. Oraceverv xopois: fo revel in the 
choral bands. The verb is not trans. 
as many take it, for yeAdoa shows 
that its subj. is not Dionysos, but 
those inspired by him. 


avopdou Kpatnp vmvov ayupuBaddp. 


381. peplyvas: acc. 

383. Sarl Seay: used in Jph. A. 
1041 of the meal of the gods them- 
selves. But in Hom. Od. vii. 76, it is 
used of the banquet at which Odys- 
seus and Achilles quarrelled. Cf Od. 
111. 386, 420; Hes. Op. 742; also ibid. 
736, d0avdrwy Sails. In all these places 
reference is made as here to a banquet 
in honor of the gods. 

384. kurooddpots: with dadlas. See 
on 376. 

386 ff. Cf Aesch. Prom. 329, yadoon 
patala (nula mpoorplBera, punishment 
is inflicted upon a rash tongue, Soph. 
Ant. 127, Zebs yap peydAns yAdéoons 
kéumous dmrepexOalpe, for Zeus greatly 
hates the boastings of proud tongues. 

389 f. 6... povetv: a quiet life 
and prudence. 


BAKXAT, 47 


390 Biotos Kai 7d dpovetw 


395 


> / , , Py ; Pe. 
GOANEVTOV TE PEEL pirnyn CAKE 


ZL 


% 


kat ovvexe, Sdpata: Téptw yap opws 
aifépa vatovres dpa- 
‘ lal > 4 

ow Ta Bporav ovpavidas. 
To copov 8 od codia Z 

, ‘ ‘ lal 
TO Te pn Ovynta dpoverv. 
Bpaxds aidv: éni tovrT@ 

, xX» , , 
dé tis Gv peydda SidKwv 

‘\ / 3 t deat. , 
TA TApOVT OVX HEpo.. 
pawvopnevev olde TpdTroL 

‘ , > »¥ A 
kai KakoBovrwv tap emovye pwTav. 
ixoiwav mott Kvzpor, Erpodi} P’. 
al al > , 
vacov Tas “Adpodiras, 

e 

ev & Och€ibpoves véuov- 


391. dodAevrov: borrowed from the 
tossing of a ship in a storm (cdAos, 
cadevew). Also in Med. 770 life is 
spoken of under the figure of a voy- 
age. 

392. Spws: though placed in the 
participial clause, belongs to the prin- 
cipal verb. H. 979b; Kr. Dial. 56, 
18, 2. 

395. 1rd codov: see on 203.— ov 
copia: unwisdom. “ Over-wiseness 
and aiming at a knowledge of things 
beyond the ken of mortals is un- 
wisdom.” 

397. él rovre@: on this ground, there- 
Sore, i.e. because life is short. Kiihn. 
438, u.e; H. 799,2d. The meaning 
of this and the following lines is, 
that he is foolish, who, when life is so 
short, aims at lofty and unattainable 
objects, and thereby loses the good 
that is near at hand. 

400. olSe «rdA.: these are the ways 


of madmen, i.e. to pursue things too 
high for men and lose the present 
good. 

401. wap’ Epovye: in my opinion. 
H. 802, 2. 

402 ff. Dionysos was associated 
with all the places mentioned in this 
strophe. Cyprus, though especially 
sacred to Aphrodite, was also a seat 
of his worship. Both cults were in- 
troduced there from Asia. In Orph. 
Hym. 55, 7, Aphrodite is called Bdx- 
xowo mdpedpos. As regards Egypt 
(406 ff.), Dionysos was supposed to 
be identical with Osiris and to be 
worshiped very much in the same 
way as in Greece. Cf. Hdt. 1. 42 
and 48. Also on Olympus and in 
Pieria he was worshiped together 
with the muses, with whom he was 
associated in various legends and 
places. See Preller, Griech. Myth. 

404 f. OedAEipoves Ovarotoww: heart 


48 


410 


415 


EYPIUNIAOY 


tat Ovarotow "Epores, 

/ a 4 4 
xOove O av EKATOO TOOL 
BapBdpov rorapod poat 


, »¥ : 
Kaptilovaw avouBpo. >». << 


mov & a Kadhiorevopeva 
Iluepia povoevos €dpa, 
oeuva Kdutds “OhvpTov; 


éxeio aye wp, @ Bpdute Bode, 


4 > ¥ lal 
mpoBaky eve Satuov. 
éKet Xdpures, €xet dé I1d0os: 
é€xet 5€ Baxyais Oeuis dpyudlev. 


6 Saipov 6 Atos mats 


xaipe pev Oadiawow, ; <« 





*Avrurtpody B’. 
y 


diret & dABoddrepay Ki- 
420 prvav, Kovpotpddoy Bedv. 1% ++. ~« 


toa © eis Te TOV OAPLOV 


charming to mortals, i.e. charming the 
hearts of mortals. 

406. x8ova: sc. ixoluay mort, — éxa- 
TooTopor: poetic for many-mouthed. 
Cf. Soph. O. C. 718, trav éxarourddwr 
Nnprdwv, also éxardyxeip. 

408. dvopBpor: because the inun- 
dation of the Nile was not supposed 
to be due to rains. Herodotus (11. 
20 ff.) mentions various explanations 
of the rise, such as the Etesian winds 
and the melting of snow, and finally 
his own theory that in winter the sun, 
being driven by storms to the south, 
drew water from the Nile only, but 
in summer from many other rivers 
also, and hence the Nile was ex- 
hausted in winter, but recovered its 
normal height in summer. Aeschy- 
lus (Supp. 560) speaks of the plain 
of the Nile as xiovéBookos, snow-fed. 


409 ff. The praise of Macedonian 
regions in this passage, as in 560 ff., is 
due to the poet’s wish to compliment 
his friend and host, King Archelaos. 
Cf. Introd. p. 8. 

413. mpcBaxye: i.e. Ztapxe (141). 

419. cd\PoScrapay Eipyvav: cf Frg. 
462, Eiphva BabirAouvte, Peace exceed- 
ing rich, Ar. Pax, 308, rhy Oey macay 
heylorny kal piraumredwrdrny (i.e. Eiph- 
vnv), of all the gods the greatest and the 
most friendly to the vine. Wirene is 
often represented on vases as the 
friend of Dionysos. (O. Jahn, Vasenb. 
Ill. Tf. 2.) 

421. toa: adverbial. —els tov dA- 
Prov: for eis with the ace. after didwmue 
instead of the dat. ef. Hel. 1425, eis 
eu’ ebvoay didq@s, Phoen. 1757, xdpw 


eis Geos Sid0dca, 


BAKXAI. 49 


, , na > ¥ 
TOV TE XELpova 50K EXeElv 


olvouv err advtov: 
pure 8 


evaiova Sualiy: - : 


/ 


epi TAUTA péereL, 
pear dos VUKTAS TE ps 


. 


codoyv 8 daréxew mpamida ppéva TE 


TEepicoav Tapa pwTav. 


TO mANOos 6 TL TO havddrepov 


Lie ~ 4 4Q>_ , 
evopioe Xpntai Te, TOD av Sexoipav. 


@EPATION. 


TlevOed, Tdpeo er THVS aypay Wypevkdres 


ep nv emepurpas, 00d axpav?’ apuyncaper. 


6 Onp & 68 jp mpaos od8 trécrace 


duyn 708, aX edwxev ovK akwv yxépas 
vy iL. £ Z pice? ee X P od 


ovd aypos ovd Hdraked oivwrdv yevur, 


yerav Sé kal Setv kawdyew édiero 


¥ , | > > \ , 
440 EMeEvEe TE, TOUMOY EVTETES TOLOUMLEVOS. 


422. xelpova: poor. 

423. Gdvrov: equiv. to matoveay 
Avrns. Cf. 280. 

424. ratra: ic. kata... diajv. 

427. cwodov xti.: Nida wise to keep 
mind and heart aloof from, ete, 

429. mepioodv: over-wise. Cf. 396. 

—rapd: with the gen. primarily de- 
notes motion from a place, but here 
position apart from. The strangeness 
of this use has led to the suggestion 
of dé as a substitute. 
- 430 f. ro wdxos . .. te: whatever 
the common throng (contrasted with the 
mepiooot pares) has received as usage, 
and practises, i.e. the traditional opin- 
ions and usages of the people. Cf. 
201. 

434-518. Seconp Errtsopion. The 
attendants here bring in Dionysos, 


whom they have arrested according 
to the command of Pentheus (352 ff.). 

435. ov8 dxpavé’ dpprcapev: nor 
did we make a vain pursuit, &xpayta 
being equivalent to d«pdyrous dpuds. 
H. 716 b; G. 159, n. 2. 

436. Oyp: the metaphor in &ypay 
hypevkdres continued. — mpdaos: sc. jr, 
as in 438, dxpbs (jv). The omission 
of the forms of ciu/, except éorf and 
cist, is comparatively rare. H. 611 b. 

439. Cf. Accius, Bacch. Frg. 1x., 
praesens praesto irridens no- 
bis stupefactis sese ultro os- 
tentum obtulit. — Sev: neither 
this line nor 451 makes it certain that 
the binding was actually carried out. 
See on 451. — édlero: bade. 

440. rovpov .. . movovpevos: com- 
monly explained, making my task easy. 


50 EYPINIAOY 


Pa 


kaya 8v aidods elroy: & Eé’, ody Exav 


ayo oe, IlevOéws 8 os p’ erreur? emorodais. 
a > > ‘ 4 - a , 

as 8 ad od Baxyas elp£as, as ouvypracas 
Kadnoas ev Seopotot Travdjpov oréyns, 


445. 


dpovdai y’ éxewar ehupévar mpds dpyddas 


lal / > UA / 
oKipTac. Bpop.ov avakahovpevar Oedv: 


avropara 8 avrais Seopa SuedvOn oddar, 


K\pdés 7 avnkav Ovperp’ avev Ovyths xepds. 


mo\\av 8 60 avnp Oavpdrwov yKe mews 


450 els tdode Oras. 


got dé. Ta\dka xp7) pede. 


TIEN@OETS. 


éQecbe yeupov rovd + év apkvow yap ov 
p xeup prvow yap 


> ¥ LUA a<-% 9 2, «3 a 
OUK EOTW OUTWS WKUS WOTE ML EKvyEL. 


ae ‘ \ Pe > ¥ > , 
arap TO pev Tam’ ovK dpopdos ei, Léve, 

e > A ae > 4 , 

as eis yuvatkas, ép Omep eis OnBas mapeu* 


But it is doubtful whether zoe?oba 
with a pred. adj. can have any other 
meaning than to make for oneself. The 
sense then would seem to be, making 
easy for himself, i.e. bearing easily my 
act, But the text is uncertain. 

441. The servant, in speaking of 
his reluctance to bind the stranger, 
gives Pentheus yet another warning 
against blinding himself to the truth; 
on the other hand, his prompt obedi- 
ence in spite of such reluctance saves 
him from the charge of setting him- 
self above his lord. Soin go)... we 
Aew, 450, there is the same combina- 
tion of warning and acquiescence. 

442. émurrodais: i.e. évroAais. The 
dat. denotes accordance. 

444. oréyns: gen. of place. 

445. dpydSas: see on 340. 

447. See Introd, p. 11. Cf Ovid, 
Met. 11. 699, sponte sua patu- 
isse fores, lapsasque lacertis 


sponte sua, fama est, nullo 
solvente, catenas. 

451. pé0ere xerpav: Wecklein sup- 
poses Dionysos up to this point to 
have had his hands tied behind his 
back, and understands this command 
of the untying of the hands. But in 
that case the act. would be used. 
ueOlecOal Tivos is to free oneself from, to 
let go one’s hold of. To this idea, and 
not to that of untying the hands, the 
following sentence stands in its proper 
logical relation. The guards seem to 
have been holding Dionysos by his 
hands, and Pentheus now bids them 


‘ release him, as there is no danger of 


his escaping. —év dpxvow av: since 
he is caught in toils (continuing the 
figure of 434), ie. since he is sur- 
rounded by so many who would seize 
him in any attempt to escape. 

454. ds els yuvaikas: restricting 
ovk &uoppos, lit. as far as regards 


BAKXAIT. 51 


455 mOKapos TE yap cov Tavads ov Tans Um, 
yew Tap avtTnv Kexupévos, 7600v méas: 
Aevany 5é ypordy ek TapacKevys €xets, 
ovx HAtiov Bodatow, adN’ bd oKLas, 


Tv *Adpodirny Kadrovn Onpdpevos. 


460 mpaTov pev ovv por é€ov cots e& yevos. 
AIONTZO3. 
ov Kdptros ovdeis, pddiov S° eimety Tdde. 
X\ > , ~ > 4 , 
Tov avOeuddn Tuadov otcbd mov Khvwv. 
MEN@ETS. 
old, ds TO Ld pdewy aoru wepiBddrer KUKAY. 
AIONT=O2. 
evTevbev eiwr, Avdia Sé pou rarpis. 
TIEN@ETS. | 
465 md0ev dé tederas Tdad ayes eis “ENaOa ; 


AIONT3O3. 


Audvucos nuas elogBno 6 Tod Atds. 


women, i.e. “for enticing women.” 
For ds eis, cf. Thuc. 11. 113, &morov 
Td WAGs A€yerat dmroréoOai ds mpds 7d 
péyeOos Tis méAcws.— eh’ Strep: refer- 
ring to the purpose suggested in ds 
eis yuvainas. Cf. 287 f. 

455. ravacs: flowing in long curls 
down to the shoulders, as represented 
‘In antique statues and busts of the 
youthful Bacchus.— ov mdAns vo: 
“not made so by the exercises of the 
palaestra, but by combing and the 
use of unguents.” Cf. El. 527 ff., 
where Orestes’s hair made harsh in 
the palaestra is contrasted with Elec- 
tra’s, softened by combing. 

457. 8€: corresponding to ré (455), 


because the. clauses, thought of at 
first as simply connected, are after- 
wards contrasted. H. 1040 b.—é&« 
mapackeuys: purposely, explained by 
459. 


458. “Thou preservest a white 
complexion by not exposing thyself 
to the sun.” In Aesch. Frg. 59, Ly- 
kurgos says to the captive Dionysos, 
modamds 6 yivus (effeminate fellow) ; 

461. “No proud speech is needed 
to answer that.” 

462. mov: i.e. tows. 

465. wd0ev: not from what place, 
but wherefore, as the answer shows. 

466. rpas clodByoe: sent me, te. 
with his rites. 


52 EYPINTAOY 


TIENOETS. 


Zevs & €or €xet Tis, Os véous TiKTer Deods; 


AIONTSO2. 


ovK, GAAG Seuerdnv evOad eLevéev ydpors. 


TIEN@ETS. 


4 | , > KA > ¥ ae) / 
motepa S€ vUKTWP Oo 7 KAT Opp HvdyKacer ; 


AIONYSO3. 
470 dpav dpdvta, Kai Sidwow dpy.a. 
TIEN@ETS. 
‘ S ¥ > > ‘\ o> io i4 ¥ , 
Ta 8 Opyt éott tiv id€ay ExovTd co; 
AIONTS0O3. 
¥ 3 > , bANE A A 
dppnt aBaxyevrowrw €idévar Bporar. 
MIEN@ETS. 
¥ > »¥ a , , 
exer 9 ovnow Toto. Ovovow Tiva; 
AIONTSO3. 
> , bl] lal /, > ¥ > ¥ > > , 
ov Oéuis axodoai o°, eat. 8 a&i’ cidévan. 
TIEN@ETS. 
475 €U Todt exiBdyrevoras, i” dKovoa Oéro. 


467. It is in keeping with the 
seoffing character of Pentheus to 
throw in such a question upon hear- 
ing Dionysos again called the son of 
Zeus, and by the turn thus given to 
the dialogue the stranger confirms 
the story of the Thebans. 

468. “Not there, but here, hath 
Zeus begotten new gods.” 

469. vixtwp ij Kar’ dppa: in dreams, 
or eye to eye. — yvdyKacev: sc. TeAeTas 
&yew eis “EAASa. 

470. dpav épavra: face to face. For 
the combination, cf below, 504, Jph. 


A. 75, épav épaoav, Aesch. Prom. 192, 
orevdwy omevdovTt. 

471. tori €xovra: te. Exe. Kiihn. 
853, An. 3.— Séav: nature. 

472. dppyr’ «lSévar: equiv. to od 
teorw eidéva. Cf. Aesch. Prom. 766, 
od pnty addacdu, Ar. Av. 1713, od 
gpardy Aéyew. 

473. Ovovew: Otev Ta 3pyia is to 
celebrate the rites with sacrifices, ava- 
xopete Ta Ypyia (482), to celebrate with 
choral dances. 

474. gore: sc. 7a Upyia. 

475. «% rovr éxtPSrAcveas: skil- 


a 


BAKXAI. 


A 


53 


AIONT=ZO2. 


> , Gre lat ¥ > 3 0 / le 
daéBevay aoKovvT \opyes €xPaiper Oeod. 


TIENOETS. 


tov Oedv bpav yap dys cadpas, motds Tis Hv; 


AIONT3O2. 


e a ¥ > > a ¥ / 
Gmrotos WOeN’: odK eye ETaacoV TOE. 


MIEN@ETS. 


As > eis > yoe , 
TOUT av TapwyeTevoas EV KOUVOEV héywv. 


_ AIONTSO3. 


Ft. avin Lintner C4 


480 dd€ei (ris ‘duabet copa héywv ovK ed dpovew. 


TIENOETS. 


MrVes SE mpara Sedp’ dywv tov Saipova; 


AIONT3O&. 


mas avaxopeve. BapBdpwv 745° dpyia. 


fully hast thou colored this. Ki Bindrebo 
is to adulterate coin, and so to give 
anything a false appearance, to color. — 
twa... 0éAw: “to make me yet more 
curious.” 

476. “Thy curiosity may not be 
satisfied.” 

477. yap: since.—opav dys: cf. 470. 

478. ov ...tode: this part of 
Dionysos’s answer, unlike what he 
says of himself elsewhere in the dia- 
logue, is inappropriate to him in his 
true character ; he could not say that 
he did not direct in what form he 
should manifest himself. The diffi- 
culty is doubtless due to a corrupt 
text. 

479. mapwyérevoas ev: thou hast 


cleverly turned. mapoxeredw is prima- 
rily to conduct water from its course. 
The metaphorical use of the word 
seems to be taken from the collo- 
quial language of Attica, where the 
numerous canals in the plain of the 
Kephissos, conducting the water of 
the river through the gardens and 
fields, were of great importance in 
tillage. Cf Med. 835 f.— déyov: 
co-ordinate with ed. Cf 490, where 
épabias and aceBodvta (= aocBelas) are 
co-ordinate. 

480. Cf. Med. 298 f., cxasotor pev yap 
Kawa mpoopepwy copa ddgers &xpeios Kod 
sopds mepukévat. 

482. “No, to the barbarians first.” 
— Ta8 dpyva: see on 473. 


54 EYPITIAOY 


MIEN@ETS. 


dppovodar yap Kdkov “EX\jvev Todd. 


AIONTSO&. 


Tad €D ye paddov: of vopuor Sé Siddopo. 


MIEN@ETS. 


485 


Ta 8 tepa vixtop 7 pel? yyepay redeis ; 


AIONTSO&. 


, ‘\ 4, /, I, , 
vuKT@p Ta TOAAA* GEUVOTNT EXEL TKOTOS. 


__ATENQET?. 


Attnygenl 


A > 5 nw 4 4 5 ‘ r 
todr eis yuvaixas Sdédvov éote Kal cabpor. 


AIONTZO&. 


> eek, ek ae Ny Py ae, yc 
Kav NEPA TO Y aAloyK“pov eevpou TU OV. 


MIEN@EYTS. 


diknv oe Sodvar Set codiopdtwv KaKav. 


AIONTSO3&. 


490 


o¢ © dpabias ye KaceBouvr’ cis Tov Oedv. 


MIEN@ETS. 


c ‘\ c e > > 4 , 
as Opacds 6 Baxxos KovK adytpvactos héyav. 


AIONTSO3%. 


Fad FF 2% A "4 ‘ 5 > 7, 
elp 6 Tu mabew Set Ti pe Td Sewdv epydcer; 


484. e¥ paddov (sc. ppovodcr): they 
are wiser. Cf. Plut. Themist. 14, }rrov 
ed, less well. — ot vopor: emphatic. 
“The customs to be sure are different, 
but for all that, their wisdom may not 
be inferior.” 

487. caSpdv: the opposite of iyés, 
262. Cf. Plat. Theaet. 179 D, etre iyits 
etre cabpdy pbeyyera. 

488. éfevpor: may contrive. 
the thought, cf. 314 ff. 


With 


489. copicparwv: the clever an- 
swers with which Dionysos is ready. 

490. oé: sc. dleny Sodvat Se?. 

491. 6 Bdxxos: proper to the god 
in his own person and in his character 
as votary. Pentheus, of course, has 
in mind the latter sense. —Adyov: 
for the gen., see on 40. 

492. rl: pred. with 7d devdy. The 
const. is equiv. to rf éori rd Sewdy, 6 wv? 
épydoe:; H.1012a. ‘These lines are imi- 


BAKXAT, 55 


TIENOEY. . 


BAtttlacl 


tate 


Tp@Tov pev éBpov Bootpvxov tend ober. 


AIONTSO3. 


tepos 6 mAdKapos: TO Dea S adrov tpédo. 


MEN@ETS. 
495 meta Ovpoov Tovde mapddos ex yepoiv. 
AIONY303. 
we eae ie teaiceeb 
avTos pb SURES, - révde Avoviccov ope . 
: TIEN@ETS. 


Tipre ¢ Ass 


eipxraioi 7 evdov capa adv duddfoper. 


AIONTSO3. 


Mdoes p’ 6 Saipwv adrds, drav éya Oddo. 


TIENOETS. 


? , 28 > , , 
OTaV YE Kahéons QUTOV & Baxyats otadeis. 


AIONTZO3. 


‘ A a , rs ‘ €-A 
500 Kal vUY &@ TaTYW TANnTLOV TAapeaV Opa. 


tated by Horace, Ep. 1.16.73 ff.: vir bo- 
nus et sapiens audebit dicere 
“Pentheu, rector Thebarum, 
quid me perferre patique in- 
dignum coges?” “Adimam 
bona.” “Nempe pecus, rem, 
lectos, argentum. Tollas li- 
cet.” “In manicis et compe- 
dibus saevo te sub custode 
tenebo.” “Ipse deus, simul 
atque volam, me solvet.” 

494. ro Ged... tTpépw: reference 
is made to the custom of consecrating 
the hair to some divinity, especially 
a river-god. Cf Hom. JI. xxi. 142, 


thy (xaltnv) Srepxerg wotauge Tpédge, 
Verg. Aen. vir. 391, sacrum tibi 
pascere crinem. Cf. also the 
custom of the Nazirite, Numbers v1. 5. 

496. Avovicov: as belonging to Di- 
onysos, and therefore not to be given 
up voluntarily into profane hands. 

499. Pentheus answers in irony, 
“Yes, he will free thee when thou 
standest among thy bacchantes, 7.e. 
never, for thou wilt never see them 
again.” 

500. Kal viv: even now, before I 
call upon him there. 


56 EYPITIIAOY 


TIENOETS. 


A a »¥ > x > » / ee | a“ 
Kal Tov E€OTW; OV yap havEepos Oppacw y Emots. 


AIONT2O3. 


ie , ‘\ a 2 \ + ee a > > Led 
map enol: ov & doeBns abrov dv ovd« cicopas. 


‘ 
° - 
Rh 


TIEN@ETS. 


hdlvobe, Karappover pe Kat O74Bas d8e. 


AIONTSO&. 


avod pe pr Setv cwdpovdv od cddpoow. 


MIEN@ETS. 


505 


> » \ Lal , , 
eyo dé Sely ye Kupidtepos ober. 


AIONTZO3. 


ovk ola? arilev ov? 6 Spas ovf ootis el. 


TIEN@OETS. 


TlevOeds *Ayatns tats, marpos 8 *Eyiovos. 


AIONTSO&. 


> 8 A ¥ a 43) - 
EVOVOTUXYOAL TOVVOJL EMLTNOELOS El. 


TIENOETS. 


xope: KabeipEar adrov immais réhas7~ 


503. Kkaradpovet: usually governs 
the gen. as in 199, but sometimes the 
ace. Cf. Hdt. vit. 10. karappovhoar- 
TES TAUTO. 

504. cudpev od cadpoow: “I am 
sound of mind in what I bid, thou 
art not.” See on 470. 

505. éyd Kkupidrepos oebev: “my 
commands have more weight than 
thine.” 

506. arltwv: in thy irreverence, i.e. 
toward me.—éetts ef: “who thou 
art in thy relation to me; that thou 


art a mortal in the presence of a 
god.” Pentheus, of course, misses 
the meaning, and hence the answer 
which leads naturally to the play 
upon the name in 508. 

508. Cf. 367. — évbverruxqorat KA. : 
lit. thou art fitting as regards name to 
be unfortunate therein, i.e. “it is fitting 
that thou shouldst bear a name bod- 
ing woe.” 

509 f. Wecklein and others sup- 
pose that here, as in Or. 1449, the 
horse-stalls serve as a prison. But 


BAKXAI. 57 


mrrigit 
510 


, . a ia > “a 
darvarcw, ws av oKoTLov Eloopa Kvédas. 40. 402 


os as , , “Oo A ¥ s 
€xet yopeve: Ttaade 8 as dywy tape 
KaK@V GuvEpyovs 7 Sueprrohyjorgpev sell 


tee 


igtimdt . 
H xetpa Sovrov tovde Kal Bvpons KrTuzov 
, Spa certs , 
Tavoas, eb torois Spwidas KEKTHOOMAL. 
ave“ 


AIONTSO3. 


515 
amabetv. 


, » 9 
OTelxon av: O TL yap py XpEwv, OTOL KpEwy 
atdp To. Tavd arrow bBpioparov 


, *= 
pérecou Avdvucds o°, dv ovK elvau héyets: 


c 4a .¥ 5 nw nan > ‘\ A 
Has Y2pP GOLK@V KELWOV ELS deo ovs ayels. 


f . ear ae 4 py V Ad AA 
Pevcstnhiy To on XOPOS. ttt. ¢ aa “Lr. oo i, Wet Ice 
_ + a Lttanrtee MirnGyty {eX 
~— e Urpody. 





*"Ayeddou Btyarep, 


497 and 549 seem to refer to the 
dungeon of the palace. The eipxth, 
or dungeon, is spoken of by Poll. (rv. 
125) as on the left of the entrance. 
It was therefore possibly near the 
stalls; hence the propriety of wéAas 
odrvaow, which could hardly be used 
if the stalls themselves were meant. 
Neither in 618 do the stalls seem to 
be referred to as the prison. 

511. éxet xopeve: uttered sarcasti- 
cally with reference to what Diony- 
sos had said in 486. 

513. Bupens xtvwov: explaining 
dovmov. 

514. Kkexrycopat: the sing. follows 
the pl. for the sing. in deuroAhoouer. 
Cf. 616 f. wé, nudv. H. 637 a. 

515 f. 6 t yap... wabety: for surely, 
what is not fated me, ’tis not my fate to 
suffer. Dionysos has in mind his 
certain escape from Pentheus. Cf 
H. F. 311, 8 xph yap ovdels wh xpeov 
Oijre word, for what is fated, none will 
ever make not fated. — dmowa: see on 


518. pds: after ayes. — ddixav 
ketvov: the participial clause contains 
the leading thought. 

519-575. Seconp Srasmmon. In 
view of the imprisonment of Diony- 
sos and the threats of Pentheus, the 
Chorus reproach Dirke (representing 
Thebes) because she spurns the wor- 
shipers of the god, although at his 
first birth she had bathed him in her 
fountains, and although Zeus had 
shown that he was to be honored at 
Thebes (orp. a’); they complain of 
the violence of Pentheus (537-552), 
and call upon the god to come with 
succor, in whatever haunt he may be 
tarrying (553-575). 4 

519. A verse is wanting to corres- 
pond with the first verse of the anti- 
strophe.—’AxeAwov: in the Schol. 
on Hom. J/. xx1. 195, called any) trav 
tAAwy révtwv. The Achelods is thus 
the source of all the springs of the 
earth; and so of Dirke, which from 
its location Nonnos (Dionys. xiv. 9) 
more appropriately makes the daugh- 


60 


555 


EYPITDIAOY 


poke xpvoora Twaccor, 
¥ 4, a oe vA 
ava, Oipoov Kar °Odvprov, 
, 5 > \ 9 Ud 
doviov & avdpos vBpw Katdoxes. 


700. Nuoas apa tas Oy- "Emedos. 
potpodov Oupaodopeis 

Oudcous, @ Audvvo’, 7 

Kopudais Kwpuxiazs ; 

Taxa & é Tails rodvdévopec- 

ow “Odvprov Oadrdpais, &- 

Oa wor *Opdeds KiBapilav 

ovvayey dévdpea povoais, 

owayev Onpas ayparas. 


565 pdkap ® Ilepia, 


oéBerai o Evuos, n&e 


, 9 4 
Te Xopevov apa Baxyed- 


3 > 4 
pact, TOV T wKUpday 


553. xpvoa@ra: referring to the 
yellow flowers of the ivy with which 
the thyrsus was wreathed. 

554. dva: not a case of tmesis, 
which in Attic writers does not occur 
with the preposition after the verb 
(Kr. Dial. 68, 48, 5), but either the 
voc. of &vat, or the preposition in 
place of the verb dvdornh:, up! Cf. 
Alc, 277, GAN &va téAma, Tro. 98, tva 
émdepe.—’Odvprrov: the abode of the 
gods seems to be meant, but in 561 
the mountain. 

555. dovlov: see on 543. 

556. wo. Nucas: where on Nysa? 

557 f. Oupoodopets Ordcrous: art thou 
bearing the thyrsus in the revel-dances ? 
Oupaopopeiv like pucPopopeiv, Sopupopeir, 
and other compounds, expresses a 
single idea (@vpoopopia), and is nearly 
equiv. to @acedvery, to revel in the Thia- 


sos. Odcous, then, is the cognate acc. 
Cf. 482, avaxopedew Ta bpyia. Kiihn. 
409, 9. 

559. Kopudats Kwpuxtais: the 
heights of Parnassus above the well- 
known cave where the Korykian 
nymphs dwelt. In Soph. Ant. 1129, 
these nymphs are called Bakxides. 
See also on 306. 

560. taxa: tows. — rodvdevipercr: 
poetic for roAvdévdpois, corresponding 
to the form dévdpec:. 

561. Bardpats: lurking-places. For 
the reference to Olympus, see on 402. 

565 f. The mention of Olympus 
suggests Pieria and its blessedness as 
a place where the god haunts. Thus 
the poet again brings in the praise of 
his adopted country. See on 409. 

567. xopevov: leading the Chorus. 


BAKXAT, 61 


SiaBas “A€wr ciluo- 
570 


gouevas Mawddas aé€eu, 


\ 
Avdiay te, Tov evdaipovias 


Bpotots’ 6\Boddrav 
matépa, TOV exk\vov 
eviTTov xopay voaow 


e 


, , tA ¢ ) 
kaAXoro.ot Aurraivew. ~~ 7 ae 
Len ft le L ite Ty 


575 


| , 1 
Orem G f aro OAL, 


AIONTSO%. 


77 
> 


Kdver euas Kdver avdas, 


3N 4 3A a 
ww Baxya, iw Baxya. 


HMIXOPOS a’. 


37 
Eviov; — /§ 


ie NS , A nw 
ia id, mad\w avoa, 
ec 
6 


Leuéhas, 6 Atos mais. 


9 9 
tis o0¢, Tis Ode 7éHev 6 Kéhados ava p’ exdhere 


- , 
5 Mn Ce 


/ _— y 
y “ure a” oe A 


7 


AIONTZO2&. 


HMIXOPOS £’. 


38 + Be! 


lw LW 


569. Pieria, according to Strabo. 
(vir. Frg. 22), extended to the Axios. 
The Lydias, which flows through 
Pieria, was called also Ludias and 
Loidias. — ciAuwropévas: i.e. xopevor- 
oas. 

571 ff. AvBlav: sc. d:aBds. — tov 
...marépa: the father of prosperity 
giving wealth to men.—Bporois: de- 
pendent upon the action expressed in 
oABodétay. Cf. Aesch. Prom. 612, mv- 
pos Bpotots dorijpa. 

573 ff. Cf Hec. 451, b0iddos, %0a 
tov KadAlotwv iddérwr matépa pacly 
*"Amidavdy media Avratyvew.— tov: for dv. 


Séamota déa7ora, 


576-861. Tump Eprisopion. 

576-603. A xommos between the 
Chorus and Dionysos, who remains 
unseen. The choral parts may be 
supposed to have been rendered by 
the leader of the First Semi-chorus, 
the leader of the Second Semi-chorus, 
the Coryphaeus, and the full Chorus 
respectively. 

576. «Avere: for the repetition and 
the position, cf. 600, also Med. 1278, 
axovets Body akovers TéKVMY ; 

578. ris: predicate with xéAados. 
See on 492.— ris, wo8ev: for two in- 
terrogatives without connective, see 


iL 
ieee At Jd 


~/f 


7 / : 
Lig ) ¢ ad £ 


62 


585 


590 


EYPIDIAOY 


pode vuv nuerepor eis 
Biacov, & Boome Bode. 


KOPYAI03. 
4 XN ¥ / 
médov yOovds Evoot TOTVLA. 
> De 4 
a a, 
Taxa Ta IevOéws 
, , / 
perabpa Svarwakerar Teojpacw. 
¢ , 2s , 
6 Avdvucos ava pédabpa: 
, , 
oéBeré vu, 
XOPO3. 
, + 
céBopev_ @. 
eee HMIXOPO2 a’, 
ide Ta Aduva Kioow euBorta 
Ud 4 
Suddpoma Tdde: 
Bpopws ddadagerar oréyas eo. 
AIONT3O3. 


9 , ¥ , 
ante Kepavviov aifora Napmdda* 


H. 1018.—The Chorus recognize the 
voice of the god, though they do not 
identify him with their imprisoned 
leader. 

585. O, the awful quaking of the 
ground! the cry of ‘sudden terror, 
which seizes the Chorus as the earth- 
quake begins. — wé$ov x8ovds: poetic 
redundancy. — mwotwa: the god is 
manifesting his power in the earth- 
quake. 

588. Starwdferar: pass. in sense. 
H. 496 ; G. 199, x. 4. —weorjpacw: in 
ruins. 

591. ta kloow euBora: equiv. to 
7a kloow éuBeBAnuéva, the architrave. 

592. SidSpopa: starting asunder. 
Similarly in H. F. 905, the Chorus 
see the palace falling, and in Tro. 


1295 ff., Hekabe sees the city of Troy 
bursting into flames. The scenery 
doubtless remained undisturbed, so 
that the audience was left to imagine 
the presence of the earthquake and 
its effects from the words and action 
of the Chorus, though the crashing 
of timbers may have been heard. 

593. dAaddterar: will raise the shout 
of triumph. Cf. Soph. Ant, 183, vleny 
éAaddEat. 

594. dare... Aapmdda: kindle the 
lightning’s fiery flame, i.e. the smoulder- 
ing flame on Semele’s grave, called 
xepavytos, because first kindled by the 
lightning. The god may be under- 
stood to be urging himself on or 
addressing some attendant. — al@ora 
Aaprdda : cf Supp. 1019, at@or: proype- 


BAKXAI. 


63 


5% cuvpddreye ciuddreye Shara MevOéws. 


HMIXOPOS 8’. 


S 


> 
a a, 


“A > , 3993 > 4 
Todp ov hevaoes ovd avydle 
Dewedas lepdyv audi tadov av 
mote KepavvdBodos edume hrdya 


Aiov Bpovras ; 


KOPT#AIO3&. 


600 diKxere weddce Sixere Tpomepa 


oopata, Mauddes: 
N ¥ »¥ , 
6 yap dva& advw Kato 


ee 
tTileis erevoe 


pérabpa rade Avds yédvos. 


4 BapBapou yovaiikes, 
605 ens. 7éd@ WENTOKAT ; 


od cake <t 


AIONT3O3. 


ed 
A 
v2 AL Se fila ey Do ae 


ovTws exrem\nypevar PoBo 


| HoOno®, @s €ouKe, Baxyiov 


aT igavros péd\abpov: add’ ay’ eaviorare 


copa Kat Oapoecire capkds eLapeibacar Tpdpov. 


XOPOS. 


@ dos péyrotoy jytv 
@s é€geloov aopern OE, 


596 ff. Construe, aiyd(e: prdya Alov 
Bpovras (cf. 8) &y ZAuwe ;— dure: the 
subj. is Semele, though kepavydBodos 
contains the principal idea; the flame 
was left by the thunder-bolt with 
which Semele was smitten. 

602 f. Erevot peAaWpa taASe: is com- 
ing upon this house, i.e. in vengeance. 
The Chorus, following the command 
of the Coryphaeus, fall to the ground. 
Similarly in Aesch. Pers. 155, the 
Chorus prostrate themselves upon 
the entrance of the queen. 

604. Dionysos, still in the guise 


eviou Baxxevparos, 
povdd éxova’ épnpiar. 


of a bacchant, comes out of the pal- 
ace. The excitement of the preced- 
ing scene is not followed immediately 
by the iambic trimeter but by the 
more animated trochaic tetrameter. 

607. capkds éfapehiparat tpopov : 
putting away trembling from the limbs. 
Cf. Phoen. 1286, 3: odpra ® éudy Freos 
éuode. The Chorus rise from their 
prostrate attitude. 

608. &... Baxxevparos: O bright- 
est light of our bacchic revel ! 

609. éveiSov: the aor. with refer- 
ence to the moment of the first sight ; 


64 


EYPIUIAOY 


AIONTZO3. 


610 els aOupiay adixer®, Hvik’ cicemeprouny, 
TlevOéws ws eis oKoTEWwas OpKdvas TEeTovpEVos; 


XOPO3. | 
TOS yap ov; Tis por Pvha€ jr, el od cupHopas 


TVXOLS ; 


GAA TAS HrEevdepaOns dads dvootov Bpdxer + 


AIONTSO3. 


>. & <7 > 5 3 e dt » , 
QvuTOS eféowor EMAUTOV Pe lWS AVEV TOVOV. 


XOPO2. 


615 


AIONTSO3. , 
A %, , b) a y ‘ 4, an 
Tavta Kal KabvBpio’ avdrov, OTL me deopevew SoKxav 


ovde cou ourywe yelpe Seopioow & Basins 


/ 


our eOvyev ov Tat? per, ariow & éBéoxero: 


Tpos parvats dé Tadpov evpadv, ov Kabetpy’ pas 


ayov, 


At i? = 


eo, / 


rode epi Bpdxous &Badre yore Kal  enNats ro8dy, 


620 Bunie EKTTVEWV, lopara 
our idiom takes the present express- 
ing the continuance of the act. —po- 
va’ €xovo’ épnplay: in utter loneliness. 

611. os merovpevos: about to be cast, 
as ye thought. — dpxdvas : dpxdvn, eipkth, 
decuwrhpiov, Hesych. 

612. tis...-TvXows: who were my 
guardian, if thou shouldest chance upon 
misfortune? 'The condition here im- 
plies mere possibility, the conclusion 
non-reality, &y being omitted. The 
connection of this form of conclusion 
with such a condition israre. Kiihn. 
576 c. Cf. Iph. A. 1404, pardpidy wé 
Tis Oe@y EwerdrAe Ofoew, ef TUXOML Co 
yawr, ; 


TOMLATOS ordlev aro, 


614. padlws dvev wévov: for the re- 
dundancy, cf. H. F. 88, pddiv tuvev 
aévov, El. 80, apyds &vev mévov, Heracl. 
841, udris odk &rep mover. 

616. ratra: (cognate acc.) ex- 
plained by or. . . €Bdoxero. 

617. Ovyev, Hparo: essentially syn- 
onymous. Cf. Orest. 137, hobx@ modi 
xwpeire, wh Woperre, und ~orw KTvros. 
Ar. Pl. 722, rexpayos at Body. — tp : 
for the pl. after pé, see on 514. — 
é\rlow: idle hopes, contrasted with 
the reality. Cf Phoen. 396, af © éazt- 
des Béokovor puyddas. 

619. Construe, repiéBaddre Bpdxous 
ydvact. 


athilern & 


BAKXAT. 65 


xeideow d.dovs odovras: saa tdiae S eye we pay 


Movxos Odcowr edevocor. 


év dé T@OE TO xXpove 


dverivae? seiagit O Bakexos dapua Kal LNTpos Tadw Z 


te any 


6 8 as éaetde, Separ alder Oar Soxav A. 


625 tes exelore ide éxeire, Spooly bon oin sie pepew 
-  &yverrwv, aras se Epy» Sovdos 7 my. pearnv trovav. 
Sian ebeis dé Tdvde poxBov, « @s €wov mepevy6ros, 
terau Eidos Kehauwov _dpragas Sépov Ero. 
Kae é Bpspios, @sS Epouye go eae ddfay dey, 
630 Bien’ eroinae Kat avdyv: 6 8 emt trod? wpyn- 


pevos 


f 


C= 


f- 


HOE KAKEVTEL faevvdy aibép’, as opdlwv epé. 


mpos S€ Totcd ait@ Tdd’ adda Baxxvos dupaiveras: meat 


Sdpar’ eppn&ev ye ore pdveras 5S array 


621. xelheow Sib0vs dddvras: of 
Hom. Od. 1. 381, d3a¢ év xelAeot pivtes. 

622. yovxos: cf. Introd. p. 11. 

623. 6 Baxxos: Bacchus, as in 1020. 
See on 491. 

624. 6: Pentheus. 

625. “Ayeddov: see on 519. Cf. 
Andr. 167, xepi omelpovoay *Axedgou 
dpdcov, Verg. G. 1. 9, poculaque 
inventis Acheloia miscuit 
uvis. Sandys compares Shakespeare, 
Cor. 11. 1, 58, “A cup of hot wine with 
not a drop of allaying Tiber in it,” 
and Lovelace, To Althea from Prison, 
“ When flowing cups run swiftly round, 
with no allaying Thames.” 

627. ds én0d mwedevydros: 
that I had fled. 

628. xeAo.vdv: dark in the sense 
of deadly. Cf. Soph. Aj. 231, cera 
vois tipeow. — Sopov ow: apparently 
because he thinks Dionysos has fied 
thither. 

629. ds...Aéyw: refers not to 
the fact described, but to the subject, 


thinking 


Bromiok, — Sefav: cf. Iph. T. 1164, 
tt rovKdiddtav TodTd o ;  Sdtav Agyes; 
what hath taught thee this? Or dost 
thou speak of an opinion merely ? 

631. yooe: darted forward. Weck- 
lein, comparing Or. 1429, aipay doowy 
( fanning the air), takes the verb here 
as trans., struck. But the precise 
meaning of afoow in the passage cited, 
as elsewhere when trans., is set in 
quick motion, a sense inappropriate 
here. 

632. aire: Avualvoua is frequently 
followed by the dat., but oftener by 
the ace. 

633. Seuara: not the whole house, 
as is evident from 638 and from sub- 
sequent allusions to the palace as 
standing, but some portion of it, per- 
haps the apartments of Pentheus, 
which are supposed to be visible to 
the Chorus (591 f.), but not necessa- 
rily to the spectators. See on 7. 
Grav then refers to the whole of the 
portion spoken of. —cvvre@pavwrat: 


64 EYPIUIAOY 


AIONTZO3&. 


610 eis GOupiay adixeo®, jvix’ cicemeurouny, 
TlevOéws ws eis oKoTEWas OpKdvas TETOvpEVos; 


XOPO3. 
TOS yap ov; Tis fot pvraé jv, el od cuppopas 


TVXOLS ; f 


GANG Tas HrevOepadOns Eapbs dvootov Bpovev : 


AIONTSO3. 


>> 3&7 > > ‘ ¢ , + , 
QuTOSs e€€owor E€MQAUTOV padlas Qavev TOVOU. 


XOPO2. 


615 


ovde gou ourabe yxelpe Seoplovow & psi 


AIONTSO=. , 


a \ , EWE ET g Y y ef ae 
tavta Kal KabvBpur airov, ori pe Seopevew SoKadv 
our eOiyev ov Tal? pov, ariow & ¢Béonero: 


Tpos parvais dé Tadpov evpadv, ov xaDeipy: peas 


ayo, 


DD .- 
‘7 


rode epi Bpdxovs Bare yorac Kat enh ott 


620 


our idiom takes the present express- 
ing the continuance of the act. — po- 
vad’ €xove” épnplay: in utter loneliness. 

611. ds werovpevos: about to be cast, 
as ye thought. — épxavas : dpkdvn, eipxth, 
decuwrhpiov, Hesych. 

612. ris. ..-TvXors: who were my 
guardian, if thou shouldest chance upon 
misfortune? ‘The condition here im- 
plies mere possibility, the conclusion 
non-reality, av being omitted. The 
connection of this form of conclusion 
with such a condition israre. _ Kiihn. 
576 ¢c. Cf. Iph. A. 1404, paxdpiby pé 
Tis Oed@y Ewedr€ Ohoew, ei TUXOML THY 
yduwy. 


Oupov EKTIVEWDV, idpara TOparos oralov aro, 


ae, 


614. fables &vev mévov: for the re- 
dundancy, cf. H. F. 88, pddiov tev 
aévou, El. 80, apyds tvev wévov, Heracl. 
841, udris odk trep wéver. 

616. tatra: (cognate acc.) ex- 
plained by ér.. . éBdonero. 

617. eOvyev, aro: essentially syn- 
onymous. Cf. Orest. 137, hobx@ modi 
xwpeire, wh Wopetre, und ~orw «rvros. 
Ar. Pl. 722, rexpayas kal Body. — jpaw : 
for the pl. after pé, see on 514. — 
é\rlow: idle hopes, contrasted with 
the reality. Cf Phoen. 396, ai © éAnt- 
des BécKover puyddas. 

619. Construe, wepiéBadrrAe Bpdxous 


yovact. 


Ahlen & 


BAKXAIT. 65 


d 
xetheow d.dovs ddovras: myo tov S eyo Toppasy 


ovxos bdooar edevooov. 


év dé T@OE TO xXpove 


dveriva®? pees 6 Baxxos dapua Kal pytpds tadw 7 


*p avn 


68 as écetde, Spar aifer Oar SoKdv A». 


UE hee Wee \ > n , 
625 ies exeioe KGT exeioe, Suwolv birch oe Pepew 
evVeTT@V, TAs $ ev épyw Sovdos Hv parny Tovar. 


one 


Siajiebets dé Tovde pdxBor, é @S e400 mepevy6ros, 

terau Sios Kehawov dpirdcas Sdpov Evo. 

Kal? & Bpspios, @s Epouye paiverat, ddfay dey, 
630 a eroinaey Kat avdyv: 6 8 émt tov? wppy- 


p-€vos. 


p- 


WOO KAKEVTEL pace aifép’, as opdlwv epé. 


Tpos S€ rotad ait@ Tad’ adda Baxyxvos Nupidiperan~ meat Cit 


Sépar eppngev xapace: ouvreBpdveran 8 arav 


621. xelderw SiS0ts dbdvTas: cf 
Hom. Od. 1. 381, d5a¢ év xelAeot pivtes. 

622. yovxos: cf. Introd. p. 11. 

623. 6 Baxxos: Bacchus, as in 1020. 
See on 491. 

624. ¢: Pentheus. 

625. “Axeddov: see on 519. Cf. 
Andr. 167, xepl onelpovoay *Axergou 
dpdcov, Verg. G. 1. 9, poculaque 
inventis Acheloia miscuit 
uvis. Sandys compares Shakespeare, 
Cor. 11. 1, 53, “A cup of hot wine with 
not a drop of allaying Tiber in it,” 
and Lovelace, To Althea from Prison, 
“ When flowing cups run swiftly round, 
with no allaying Thames.” 

627. ds énod wedevydros: 
that I had fled. 

628. keAovdv: dark in the sense 
of deadly. Cf. Soph. Aj. 231, redra- 
vots tipeow. — Sopov ow: apparently 
because he thinks Dionysos has fied 
thither. 

629. ds...Xéyw: refers not to 
the fact described, but to the subject, 


thinking 


Bromios. — 8efav: cf. Iph. T. 1164, 
tt rovKdiddtav TodTS o ; # Sd~av Aeyets; 
what hath taught thee this? Or dost 
thou speak of an opinion merely ? 

631. yooe: darted forward. Weck- 
lein, comparing Or. 1429, aijpay doowy 
( fanning the air), takes the verb here 
as trans., struck. But the precise 
meaning of aicow in the passage cited, 
as elsewhere when trans., is set in 
quick motion, a sense inappropriate 
here. 

632. avrad: Avualvyoua is frequently 
followed by the dat., but oftener by 
the ace. 

633. Sapara: not the whole house, 
as is evident from 638 and from sub- 
sequent allusions to the palace as 
standing, but some portion of it, per- 
haps the apartments of Pentheus, 
which are supposed to be visible to 
the Chorus (591 f.), but not necessa- 
rily to the spectators. See on 7. 
Gray then refers to the whole of the 
portion spoken of. —cvvreOpdvwrat: 


ade Sib TLE 


66 


EYPITIIAOY 


op af ae Ss : \ gn Fae: , Pg Y 
TUKPOTATOVUS LOOVTL €O}LOUS TOVS €f@OvUS KOTFOU vVTO 


635 


Suapebeis Eihos mapetra. 


mpos Oedv yap dv avip 


eis pay eh Oety erdduno” * novos & exBas eyo 


Sapdraw nko pos vuas, TevOéws_od 


as 5€ pow Soxel, wodet your dpBony Sdpov goa, 
els mpovermre abrix " aiSet. Tl ToT op! éx TovT@V épet: 
640 pedios yap avrov olow, Kay mréwv erog peéya. 


F085. cobey wee spdpos a ao Kew iv. Op Oa 
Lv oe 4 . 
TIEN@ETS. 


AM = snr 


evopyno iav, 


bye 


mérovla Sewd: Suamépevyé pw’ 6 EGos, 
ds apte Seopots Hv KaTyvayKacpEvos. 


¥ ¥ 
€a €a* 


645 OO éoTiV avnp* 


Ti TaOE; TAS TpovarLos 


, Q ¥ r > A. ¥ , 
aive. mpos otKots Tos pois, €€w BeBais; 


AIONT3O3. 


A ay > a yl € 41) Y , 
OTyNTOV 700, Opyyn UTOVES NOVKOV TPOTTOV, 


has fallen in ruins. Cf. Hor. Car, 11. 
19. 14, tectaque Penthei dis- 
jecta non leni ruina. 

634 f. mxpotarovs: pred. with 
deopods. Cf. 357.— Bowtie: sc. aire, 
dat. of disadvantage after cuyreOpd- 
vwrat, lit. for him, who has seen, i.e. 
“so that now he sees the bitter con- 
sequences of trying to bind me.” — 
Komov... mapetrar: through weariness 
letting fall his sword he hag=given-up 
exhausted. emt 

639. mpovemia: 7a Eumpocbey Tay 
mvagy (Hesych.), i.e. the xpordAaa, a 
kind of porch or vestibule in front of 
the entrance-hall. —éx tovrav: “at 
what has happened.” 

640. fadles ydp «rA.: explains the 
unconcern with which Dionysos an- 


ticipates the coming of Pentheus. — 
avéwy: cf. Andr. 189, rvéovres meydAa. 

641. «pos xrA.: the part of, ete. 

642. Pentheus comes out of the 
palace in angry excitement. 

645 f. mpovamis: in the mpovdma. 
See on 639. The emphasis lies upon 
mpovémos and @w as contrasted with 
the avaf (630). Pentheus cannot 
understand how it is that Dionysos 
is without, nor how he has escaped 
his (supposed) bonds (616); hence 
the question here, and its repetition 
in 648. 

647. dpyq «rA.: and give calmness 
to thy anger, i.e. become calm. — yev- 
Xov tporov: equiv. to jovxlay. Cf. 
El. 948, Zuovy etm dois wh wapSevwrds, 
GAAG Tavdpelou Tpdrov. 


porsigane; Qree 


firvrdternacd (on 


4f 


BAKXAI, 67 


TIEN@ETS. 


miley od Seopa Siadvyav ew Twepas; 


AIONTZO3. 


3 > x > ¥ Y , , 
OUVK €L7TTOV 1) OUK YKOVOAS OTL Avot BE Tis; 


TIENOETS. 


7 \ , ‘ > la ‘ L a 
Tis; Tovs oyous yap elaodépers Kawovs aél. 


AIONYZ0%. _, 


Os THY TokdBotpuy dprredov ‘pder Bporots. 


MIEN@ETS. 


‘ ¢ 
erin 


aveidicas 87) TodTo Atoviow Kaddv. 


AIONTSO3. 


* * * * 


648. woev: how ts it that? 

649. Cf. 498. 

650. Kawovs: pred., answers that 
are strange. Of. 775. 

652. dvelSiocas: the aor. in refer- 
ence to words just uttered, where the 
English idiom uses the pf. See on 
609.— rotro xadov: the praise of 
Dionysos in éurerov pic. This line 
has received various interpretations, 
the most of which seem to do vio- 
lence to the meaning of the verb, or 
disregard the emphasis thrown upon 
it. dvedos and dveidi¢w are probably 
never used where there is not some 
idea of reproach, not even in Phoen. 
821, 1732, Med. 514. The meaning 
then may be (1), as in Iph. A. 305, 
you have brought this as a NOBLE re- 
proach, i.e. what you intended as a 
reproach is an honor; (2) it was Dr- 


* * * 


onysos of whom you said this fine thing, 
in reality a reproach, i.e. in our former 
talk, so that I know whom you mean; 
(3) it is a REPROACH indeed instead of 
an honor which you have brought against 
Dionysos in this fine thing, t.e. in at- 
tributing to him the gift of wine. Of 
these interpretations the jirst (Weck- 
lein’s) gives a thought inappropriate 
here; the second (Schoene’s) disre- 
gards the emphasis thrown upon @vel- 
dicas by its position and the particle 
54, besides attributing to Dionysos a 
statement he had not made in the 
former interview ; the third seems to 
be the easiest interpretation of the 
words themselves and to suit the con- 
nection. Pentheus speaks tauntingly 
of the evils of Dionysos’s gift, one of 
which he had already mentioned in 
260 f. 


68 


EYPINIAOY 


MIEN@ETS. 


/ 4 / , > , 
Krew Kelevw TavTa TUpyov Ev KUKe. 


AIONTSO3. 


Tt 8; 


b] e 4 \ if. 4 
ovx vrepBaivovor Kal Teiyn Oeoi; 


TIEN@ETS. 


655 


copds codds ot, TAnv & Sea o civas coddr. 


AIONTSO3&. 


& det pddiorta, tadr eywy éedpvy codes. 


, 3: > , A \ , , 
KELVOU 3) QAKOVOAS TPWTA TOUS hoyous pabe, 


a > ¥ , 5 lal , 
os e€ Opous Tapeoti ayyehkwv Ti col’ 


nyets S€ wou pevovper, ov devéorvpeba. 


ATTEAOS. 


660 


Tlev6ed kpardvev Thode OnBaias xOovds, 


4 A 3 > , 9 3 RA 
nko KiBaupav EKNUT@V, W OUTOTE 


AevKys avetoay yxuidvos 
a 

653. The purpose of the command 
seems to be to prevent the escape 
of Dionysos from the city. — The 
interruption of the or:xouv0la (the 
progress of the dialogue in single 
alternate verses) shows that a verse 
has fallen out. Except for the em- 
phasis on @veficas, spoken of above, 
verse 652 might be assigned to Diony- 
sos, as suggested by Reiske, and taken 
in the jirst sense mentioned, as an 
answer to some reproach uttered by 
Pentheus in the lost verse, i.e. the 
lost’ verse, instead of 652, being as- 
signed to Pentheus. 

654. drepBatvover relxy Gcol: with 
double meaning, i.e. come into the 
city to deliver their votary, or make 
their escape from the city. 


efavyeis Bohai. 
Anaahr Leg 

655. iii krd.: “your shrewd- 
ness in answering shall not deliver 
you.” Cf. Andr. 245, coph coph at: 
‘karOaveivy © buws ce Sei. 

656. éywye: Dionysos seems to 
contrast his own knowledge of his 
divinity, and of what is due him as a 
god, with Pentheus’s ignorance. 

657. dxovoas pade: give ear and 
learn. 

660. A herdsman enters from 
Kithairon. 

662. dyetoav: gnomic aor. —xudves 
Boral: glitter of the snow. Cf. Soph. 
Aj. 877, jAlov Bordy, beams of the sun, 
Anth. P. 11. 56, xpucod Boda, gleaming 
of gold. — éavyets: Aaumpal. Of. Rhes. 
304, wéAwy xidvos ekavycorépwr. 


BAKXAI. 69 


TIEN@ETS. 


nKes S€ toiav mpoorileis aorovdnv hoyou; 


ATTEAOS. 


Bakxas morviddas ciowddv, at tHade ys 


olaTpowt evKdv K@AOV eENKdvTLCaY, 


4 4 A A , 4 ¥ 
Kw aoat Gol Kal moet ov, avag, 
U) p XPV 


i ‘ wn , 7 
_@s dewa Spéic Oavparew TE pon A beet 


bérdw re aKovoat, yerape Gol Tappnota Jrantente? 


fs 


pace Ta Kelev 7 Ayov oreiddpeBa 


670 


To yap Taxos cov Tav dpevar Sédour’, ava€, 
Oks, TEX P 


Kal TovEvOvpov Kal 7d Bacwukov diay. 


S pepe 


hey’, as Sibss ee eu08 TAVTWS ECEL* 
[rots yap Sixaious ovxt Ovpotobar xpeav| 


cow 8 ay eizys Sewd Baxyov 7é 
ow 8 dy eirns Sewdtepa Baxyarv épt, 


675 


Too@oe paddov Tov wroP&Ta Tas Téxvas 


ywaret Tovde TH Sikn TtpooOyjcoper. 


663. olay orovdiv Adyouv: equiv. 
to orovdhy rolov Ad-you. — mporrels : 
se. geavT@, thou hast come imposing on 
thyself haste about what message, i.e. 
“what message has brought thee in 
such haste?” Cf. Pind. P. rv. 276, 
TAGH Oguev oxovddy. Or it is perhaps 
better to supply after zpoor:fels some 
such phrase as t@ mapdéyt: mpdypari, 
adding what important message to the 
affair we have in hand, i. “ bringing 
what new matter of importance ?” 

664. morvddas: pavddas kal Avo- 
oddas, Hesych. Cf. Or. 317, dpouddes 

.. morviddes Oeal.— yas: city, like 
x9ovds, 1043. 

665. olorpoier: in frenzy. Cf. 82. 
—evkdv K@drov éfnkovricav: darted 
out with bare white feet. The bacchantes 


are usually represented with bare feet. 
Cf. 863, Cycl. 72, Bdxxais Aevkdrocw. 

667. Cf. 716.—@avpdrov kpelooo- 
va: cf. Hec. 714, bavudrwr répa. 

669. ta KeiBey: instead of ra év- 
tava, because the herdsman thinks 
of his message as brought thence. 
See on 49.— Adyov oreAdpeda: speak 
with reserve, a metaphor taken from 
iorla oréAAcoOat, take in sail. Cf. Or. 
607, Opacive: Koby bmoaréAAet Adyy. 

671. rovEVOupov KrA.: its (TY ppe- 
vav) too quick and kingly nature, the 
adj. being used substantively. 

673. Bracketed by many editors 
as unsuited to the connection. 

676. ty Siky mpocbycopev: shall 
give up to punishment. Cf. Iph. A. 540, 
mply“Aidn raid’ éuny mpocda. 


70 EYPIDIAOY 


ATTEAOS. 


ayedata pev Bookypar apt. mpds déras 
pdooxov wreejkpilov, nvix’ mALos 


> A 2&7 / / 
axtivas e€inot Oeppaiver yxOdva: 
6pO Sé Ouicous Tpeis yuvaikelwy yopar, 


a , Ce TS Q > ‘ A , 
av px €vds pev Adrovdn, Tod Sevrépou 

4 a 4 4 / 8° 5 | ‘ “A 
Lytnp “Ayatn o7, Tpirov va Xopov. 
nvdsov S€ Tava, copacw Tapepevat, 

‘55 sy As 9 fits Wp, 
at pev pos eXatys var epeicacar PdByv, 


at S & Spvods Pvdrouor mpos Teow Kdpa 


, SD. Barovear cappsves, ovx as ov dys 


Wits 


QVOPLEVAS Kpaript Kal hwrod Yodo 
gies Kal? hay Kvrpw pnpaparyy. 
n on S€ pytnp @dodv§ev ev péorais 
690 orabeioa Bdxyais, €€ varvov kwev Séuas, 


677 f. dyedata Bookypara poorer: 
herds of young cattle. The redun- 
dancy is characteristic of this speech. 
Cf. 680, 694, 705. pdoxos here is not 
calf, but any of the bovine genus two 
or three years old, as is evident from 
736 ff., where it includes mépis, 5auddAn, 
and taipos. Cf. also 1333.—démas: 
the. lower slopes or tracts of the 
mountains, overgrown with wood or 
grass. This idea is implied in the 
following description, especially in 
751 f., and also in 1045 compared 
with 1048. Cf. Frg. 415, *1Satov Aémas 
mphaoesev by tis, one might burn the slopes 
of Ida, Anth. P. 1x. 823, Adoioy Aéwas. 
—vretjkpifov: best taken as trans., 
was driving up, though in Or. 275, 
éfaxptere is intr. 

679. dxrivas xrA.: i.e. at sunrise. 

683. capacw mapetpevar: with limbs 
relaxed, lit. relaxed in their bodies. 


684. mpds poBny: against the boughs, 


i.e. the lower branches, which bent to 
the ground. 

686. cwdppdves: though construed 
with Badoidcm goes in thought with 
nidov raca.—ov prs: cf. 222 ff. The 
opinion of Pentheus is known among 
the people. 

687 f. dvopévas Onpav: the inf. 
after pfs in place of the participial 
construction of the former clause. Cf. 
Soph. Tr. 1238, avhp 88 ds Zouwev ov 
veueiy (instead of veuet) euold potpar, 
Aesch. Pers. 188, trovtw ordow tw’, os 
ey@ “Sdkouy dpav, tevxew (instead of 
grevxov) ev &AAHAaLCL. — PHPOPEeVHY : 
i.e. ev épnula odcay- 

689. sAdAviev: raised the droAvyh, 
a loud cry of religious emotion. Cf. 
Med. 1171, dégacd wov 4 Mavds dpyas 
Tivos Dedy moAciv dvwrdAvke. 

690. xwetv: after an idea of sum- 
moning implied in @AdAvke. Raising 
the sacred cry she summoned them to 
rouse their forms from sleep, 


705 


BAKXAI. 71 


tebt Looe tet 


poy) a 


hand a ae 


OS NKoVCE Kepopspav Bosw.: 


at 8 dmoBahodoa: Oadepov dppdrav dmvov 


avyjcav 6p0ai, Oavp’ idetv ti ee 


véat Tadavat wapleras T er at 


695 


Kat mpara, pev Kabetoay eis dpovs Képas 


veBpidas 7 daveoteihav? 6 orauow Op paToVv Aan h0 


aovvoccp’ édéduto, Kai _ Karaoriicrous Sopas 


dpeor KateldoavTo NixXpdow yer. 


at & dyxdhavor Sopkad’ 7} oxvpvous MiKwv 


700 


5 , ¥ . sO 7 , 
a@yplovs exovoat hevKov edidocav yara, 


Goals VEOTOKOLS ATTOS Hv oTapyav ere 
, , i % 3 », a 
Bpédn AuTovoas: ert & Kevto Kuocivous 
, ts , , > > , 
atepavous Spvds Te pilakds 7 dvberddpov. | 
4 , nip. Mey 2 > - 
Bipoov Sé Tis NKaBoto” erace eis wérpay, 


ev Sporwdyns vdatos éxanda voris: 


Gdn dé vaépOnk’ cis rédov KabjKe yijs, 
‘ al , > A 2 ¥ / 

Kal Toe Kpyvnv Lavy’ olvov Oeds: 

doais S€ hevKod tépuatos 7600s TapHy, 


G92. Oadepdy: deep. 


694. mapOévor diuyes: cf Hipp. 
1425, képa &{uyes yduwr. 
696 f. veBpiSas... édéAvro: those 


whose bands had been unloosened, fas- 
tened up (upon the shoulder) the fawn- 
skins, i.e. “ those from whom the fawn- 
skins had fallen off fastened them on 
again.” — dverretAavro, KareLacavTo 
(698) : the former refers to the bind- 
ing of the fawnskin to the shoulders 
from which it hung, the latter to the 
girding down of the same about the 
waist.—dppdrev cvvSerpa: see on 
677. 

698. Aixpaow yévuv: of. 767 f. 

699. at 8€: others. 

TO1f. doats.. . Avoveats: describ- 
ing al (699), those who had brought forth 


lately and still had swelling breasts, hav- 
ing left their babes. 

703. Cf. 106 ff. 

705. Spoowiys wSaros vorl.- of. 
Phoen. 645, naddAurérapos $5at0s votis, 
Ton149, vorepdy i5wp.— Spor wSns: dSpdcos 
is primarily dew, then any pure water. 

706 ff. Plato (/on 534 B) says 
that the bacchantes, when inspired, 
drew honey and milk from the rivers. 
Cf. Hor. Carm. u. 19, Fas per- 
vicaces est mihi Thyiadas, 
vinique fontem, lactis et 
uberes cantare rivos, atque 
truncis lapsa cavis iterare 
mella. 

707. rySe: dat. of interest, referring 
to An; or it may be taken as an 
adverb of place. 


72 EYPITNIAOY 


aKkpotot Saxtvrovor Siapooa yOdva 


710 


yadaKtos Expovs eixov: ex S€ Kirciver 


4, A / ¥ e , 
Ovpowv yduxKetar péditos Exralov foal. 


9 > > “A ‘\ ‘\ \ “A / 
aor ei tapnoba, Tov Oedv Tov viv eyes 


evyatow av pernd\Oes cioidav Tdde. 
EvvyOopev dé Bovkddou kai roueves, 


715 


Kowav Adyar Swcovres addjdows Epw: 


[as Sava Spoor Oavpdrwrv 7 éemdéia] 


, , > y ‘ lA / 
Kat Tis mavys Kat aoTv Kat TpiBwv oywv 


ehe€ev eis aravtas: ® cepuvas mAdKas 


vaiovtes dpéwv, Oédere Onpacdpeba 


720 


Tle Oéws “Ayavnv pytép’ ex Baxyevparor 


Xdpw 7 avaxti Oope?; cb S nuiv héyew 
edofe, Odpveov & éddoxilouey PoBaus 


4 c ed a de ‘\ /, 
KpvavTes avToUS* at O€ THY TETAypEeVHV 


y 27 , > , 
@pav EKLWOVY Odpaov €ls Baxyevpara, 


725 


712. rov: rel.; so used in the tri- 
meters only where the metre requires 
it. 

713. eixatow perndOes: cf Fre. 
775, 46, edxais mpooéBar. 

715. xowdv... épw: “to talk the 
matter over with one another, whence 
a strife arose.” 

716. Taken from 667, and inap- 
propriate to piv. 

717. tls mwAdvys Kar’ dou: lit. 
some wanderer about the town, i.e. one 
who had loitered much about the 
town. This may refer to his levity 
as seen in the impiety of his proposi- 
tion, or to his readiness in speech, or 
perhaps to both. Cf. Or. 919 ff., av- 
Speios 8 avhp, ddvydeis torv Kdyopas 
xpalvwy KikAoy,... axépasos, avemlrAnk- 
Tov hoknkws Blov.— Aeyav: TpiBwr, like 


a xe 30 , , \ A \ , 
QaAKXOV GAUPO@ OTOMATL TOV los yovov 


Zumeipos, émorhuwy, and similar adjs. 
expressing knowledge or skill, is fol- 
lowed by the gen. H. 754a; G. 180, 1. 

718. €degev els deravras : for eis after 
Aéyew and similar verbs, cf. Soph. 
O. T. 98, és mdvras atda, Xen. Anab. 
v. 6. 28, Aéyew eis tues. 

719. Oédere: for this use of @éAw 
(in prose BovAoua) with the interroga- 
tive subjv., see H. 866, b; G. 256. 

723. avrovs: instead of juas ad- 
rovs. H. 686 a; G. 146, w. 2. 

724. dpav: a poetic const. instead 


of the dat. Cf Aesch. Eum. 109, voy 
pay ovderds kowhy Seay. Kr. Dial. 
46, 4. 


725. rév Avés yovov: the repetition 
of the words of the Bacchantes in in- 
direct form. Cf. 1146, 1819. 

726. cvveBaxxev’ Spos: cf Aesch. 


BAKXAI. 73 


Bpopiov Kadovoa: wav S€ ovveBaxxev’ dpos 
\ a“ > \ > > > 4 / 
Kat Onpes, ovdev S Hv axivntov Spdpo. 


kup. 8 *Ayatn myoiov OpdaKxovod pov: 
Kaya “erndno ws ocvvapraca Oédhwr, 


730 


Aoxpnv kevdcas ev expimropey S€uas, 


n S aveBonow: & Spopddes cual kiwves, 
Onpope? avdpav tavd im’: add’ ered pou, 
emecbe Oipoos Sia XepOv aTLCpPEVaL. 

pets ev ouv hevyovtes e&nr\vEapev 


735 


Baxyav crapaypov, ai S€ vewouevars xOnv 


pooyos érnOov xeipds dovdypov péra.. 
Kal THv pev Gv mpoceides evOnhov Tmopw 
puKoperny exovaay év xepow Bia, 

Ghar S€ Sapdhas Suepdpowy orapdypacw. 


740 


eldes 8 av 7 mrevp’ 7 Sixnhov euBaow “echoes 


e , > »¥ \ , \ SY 
PLTTOMEy GVW TE KAL KATWM* KpE“LaOTA de 


4 €.. 9 > , > a? 9 

éoral im éddrais avareduppey’ aipate. 

tadpor 8 vBpiotai, Keis Képas Ouvpovpevor 
Atal 


Frg. 57, évOovoig 3) daua, Baxxever 
oréyn, the palace is inspired and the 
house is joining in the Bacchic revel. Cf. 
also Ps. 114, 4, the mountains skipped 
like rams. 

729. ds Gédwv: the addition of ds 
to the partic. emphasizes the purpose 
as a conscious one. 

733. Sud xepav: in the hands. Cf. 
Soph. Ant. 1258, pvfjua dia xeupds Exwv. 
H. 795, 1 e. 

735. Baxxav: subjective gen. 

738. év xepotv Big: with her hands, 
by force. Cf. Med. 335, e énadav 
xeipds &oOjce Big, thou shalt be thrust 
out at the hands of my attendants by 
force. Some editors read df«n instead 
of Big, and interpret év xepoiy dixy as 
meaning Mmanuum jure, ie. vi. 


Cf. Hat. vi11. 89. év xewpav véuw. Cf: 
also xepodixns. 

739. omrapdypacw: commonly ex- 
plained as equiv. to omaparypois. It 
may, however, be taken in its ordi- 
nary sense. For the dat. in that 
case, in pieces, cf. 588, reahuacw. 

741. xpepacra: i.e. the pieces which 
caught in the branches as they were 
hurled about. 

742. dyamepuppév apart: mixed 
up, i.e. stained with blood. Cf. Hat. 
111. 157, aluari dvamrepuppevor. 

743. els xépas Gupovpevor: cf Verg. 
G. 111. 232, Aen. x11. 102, irasci in 
cornua. Wecklein takes the mean- 
ing to be similar to that of eis népas 
mapeuBAérwy, Hel. 1558, where the ref- 
erence is to a bull which puts down 


74 apparent 


, 


TO mpooder, éopdddorr0 pds yatav déuas, 


745 


pupiac u XELpa@v aydpevot vEaviowy. 


Baocov dé Suehopotvro capKos evdura 

Hn o€ Evvdapar Brépapa Bacrrelous Kdpais. 
“~ 3 9 > »¥ > al if 

Xepovor 8 wor dpuBes apleioas Spoup 

mediov broTaces, at map “Acwrod poh: 


750 


evKaprro éxBaddover Snpaiors OTAaXW, © 


ra 
hg 
td 


‘Touts T ‘Epvlpas , at KiPatpavos ra 


vépbev KatwKyiKkacw, édre ToNeuoe— 


er 4+ Te 


a > »¥ \ , 
ETELOTIET OVE AL TOvT QVM TE KAL KATW 


Sueepov . 
* * * * 
755 


his head and turns his eyes toward his 
horns as he prepares to attack. In 
this passage, however, the idea of 
‘looking toward’ is not expressed, 
and can hardly be implied in @upod- 
pevot, The precise meaning is not 
clear, but would seem to be, jilled with 
rage to the horns. Sandys explains it 
of ‘the gathering of their rage into 
their horns.’, The phrase occurs in 
Aelian, De Anim. rv. 35, xvi. 81, also 
bBplCovra eis xépas, ibid. 1v. 48. But 
in these cases it may be regarded as 
borrowed from Euripides. 

744. tO mpdcGev: i.e. before they 
were felled by the Bacchantes. — 8€- 
pas: more commonly used of human 
beings, but cf. Hel. 1562, ravpeiov d€uas. 
The acc., as in évdurd (746), is that of 
specification. 

746. Srehopoivro: sc. tadpo:. di0- 
gopéw is not strip off, as some take it, 
but tear in pieces. Cf. 739.— capkds 
évSurd: the covering of flesh, i.e. the 
flesh which clothes the frame. 

747. i... Kdpats: than thou cowldst 


Fey an 
Aa 


4 \ > / ? 
npmatov pev ex Sdopwv réxva, 


* * * 


e , > } a ¥ »¥, > A“ WA 
éréaa 8 én apois Cecav, od Seopadv tro 


close the lids of thy kingly eyes.— &uvd- 
or: for the inf. with 4% after com- 
parative words, see H. 954; G. 266, b. 
—xépas: for xépa in the sense of 
bpbadruol, cf. 1087. 

748. dor... Spdpm: lifted up in 
their flight like birds. In their easy 
rapid motion they seemed scarcely to 
touch the ground. ; 

749. meSlov vrordoes: over the 
plains stretching below. For the acc., 
see on 307. 

750. ékBdAdovor: aévar, dvomdu- 
mew, eure, are likewise used in this 
sense. 

751 f. ‘Youds 1 "EpvOpds re: with 
érevonecovou. Hysiae and Erythrae 
were in the district of Parasopia. — 
K.arpavos Aerras vépSev: upon Kithai- 
ron’s lower slopes. See on 677.— kar@- 
kykaow: so also vatew of cities, 
islands, etc., in the sense of lie. Cf. 
Soph. Aj. 596, & Sadrapls, ob valers GAt- 
TAQKTOS. 

754, The lacuna after this line is 
evident from the absence of a clause 


BAKXAT, 


~“] 
Or 


, 3 10° » > , lé 
mpooeiyeT ovd emimrey eis péav wédor, 


ov xadkds, ov oidypos: emi 5é Bootpixois ~ « 


a ¥ 503 ¥ 
mup epepor, ovo eKalev. 


A Ss > A y 
ou opyns vio 


eis Om’ Ex@povy hepopevor Baxydv wo 


760 


ovmep TO Sewdy Av Oday’ idety, ava€. 


- X x > y tent? - 
Tos mev yap ovx Huacoe oyywtov Bédos, 
keivat 5€ Ovpoous eLavietoa. yepav 


Arpt _ 


eTpavpatiloy Kamevarilov duyn <2 im he lore 


yuvaikes avdpas, ovK avev Oedv Twos. 


765 


, > 3 , 9 7. / 
Tadw ) €X@Wpovv obev EKWYHOaV 7ooa, 


ld JF aS aA Ss ‘A 95 > aA , y Ly ff 
Kp7yVas €7 advuTas as avyk QavUTals Beds. Apt pt (otto 


vipavto 8 aiva, otayova § éx mapnidwv 


yrocon Spdxovres eEedhaidpwvov ypods. 


X § ’ > > , > C7 ¥ > > , 
TOV LLOV OVVY TOV OOTLS €OT, W déa7r0T4, 


770 


, , AQ> € , 3 er! < , 
déyou TONEL ™°, ws T4 T GAN €oTW peyas, 


> “~ , > , ec > ‘\ 4 
KaKewo hacw avrov, ws éyo Khvo, 


‘ s »¥ a Lal Lal 
Thy mavoiduTov apme\Ovdovvat Bporots. 


» A £3. .S > ¥ , 
owvov dé pnKér dvtos ovk eotw Kumpis 


ovd dAdo Teprvdv ovdéy avOpdros Er. 


corresponding to fpra (ov wév, and from 
the fact that the Bacchantes carried 
off more than the children (c¢f. 757). 

758. ot S€: the people of Hysiae, 
etc. 

759. depopevor: plundered, as in 
pepe kal tyev. 

760. Cf. Med. 1167, roivOévde pévra 
dewdy Fv Oday’ ideiv. — o}mep: where. — 
TO Sevov Sapa: the article particu- 
larizes this sight as the terrible part 
of the scene described. 

761. rots pév: the of 3¢ of 758.— 
OvX Ypacce: did not wound, i.e, the 
Bacchantes. 

764. ovK dvev Gea Tivos: cf Aesch. 


Pers. 164, saBov, tv Aapeios hpev odk 
&vev OeGy Tiros. 

766. Cf. 705. 

767 f. vipavro: see on 100.—ék 
awapnidwv, xpoos: if the text is cor- 
rect, both expressions depend upon 
etepaldpuvoy, from their cheeks cleansed 
off the drops of gore from the skin. Cf. 
Phoen. 1374, dds &yxos é« xepds THod 
an wdévns Badciv.. It is possible, how- 
ever, that some words may have fallen 
out, among them A:yuaryres governing 
orayéva, and that xpods then may have 
displaced xpda. 

7171. hacty, ds éyd kAvo: cf. Phoen. 
7137, éxr &vdpas abtots pacw, &s ikove’ 
eyd, Adxwv avdooey. 


76 EYPIDIAOY 


XOPOS. 


rapBia pey eimeiy TOUS Abyous chev Epous 
eis TOV TUpavvoY, GAN’ Gpws eipHoeTaL* 

4 9 > A na ¥ 
Audvucos Haoowy ovdevds Deady edu. 


775 


| TIEN@ETS. 

non 760 eyyds woTe TUP bddareraL 

vBpio pa, sPaKxer, Woryos €s "EMqvas peyas. 
780 GAN ovK dxveww Set* orety’ én” "HAExtpas ia 


mbdas: Kédeve wévras aonSnbopous.s jane lite Au tre na. 


UrmTrwv T an avrTav T axvir dba érr Spares, 


TETAS eg doo madANovor Kal TOSwv yeEpt 


ld , e > 4 
Wadhovor vevpas, ws EerioTpaTevoomey 


785 


Bdkyuow: ov yap add’ brepBarre rade, 


el mpos yuvaiKav Tecdper? & raoyxoper. 


AIONT3O3&. 


id A sQr A | Ya 4 4 
meiOe pev ovdev Tov euadv Adywv Khor, 


TlevOed- Kakads Sé mpds célev racywv ows 


) 


ov dye xpyvat o ond éraiperOar Dee, 


790 


GN Hnovxalew: Bpdptos odk avé€erar 


nw 4 > 57 > “ »+ 
KivouvTta Bakyas o eviwv OpwVv amo. 


778. éyyis Bore wip vbarrerar: 
is kindling like a fire close at hand. 
The comparison refers to the irre- 
sistible spread of fire. Cf. Or. 696, 
bray yap 7B& Simos eis dpyhy meody, 
Suoiov Sore wip naracBéou AdBpov. 

780 f. "HAéxrpas wvAas: the Elek- 
tran gate, according to Pausanias 
(rx. 8. 7) was on the south side of the 
city towards Kithairon. 

782. dmwavrav: sc. pol. The pur- 
pose of Pentheus to meet his forces 
at the Elektran gate and lead them 
against the bacchantes is abandoned 


under the influence of Dionysos’s in- 
tervention. 

785. ov ydp dAAGd KrA.: for this is 
not to be endured, but it exceeds all 
bounds. H. 1050 f. 

786. Cf. Soph. Ant, 679, xpeiocor 
yap, elrep de?, xpos avdpds éxmeceiv, kovK 
by yuvaikav hoooves kadolue? dv. The 
messenger withdraws. 

787 ff. “Thou dost not listen to 
my words, and thou treatest me ill, 
yet I.will give thee good advice.” — 
Spws: see on 392. 

791. xwotvra: supplementary par- 


Drorere- ef Pd 


BAKXAIL, 77 


_—  WEN@ETS. 

ov py dpevdoes p’, adda Séopwos pvyav 
, ey: x x , > , , 

cdce 768; 7 col Tdhw davactpdébw yépas. 


) Arr be 


fy AIONT=SO&. 


/ Piow’ av ait@ paddrov 7 Ovpovpevos 
795 mpos Kévtpa daxriLounn Ovnrds dv Dea. 


MEN@ETS. 
Oicw— ddvov ye Onrvv, aorep aba, 
4, > lal Cal 
mohenov Tapdéas év KiMaipavos mrvxats. 
4 ET Y Sere . 


i~ 


AIONTZO3. 


“ , A 4Qs > , > , 
pevécicbe mavres: Kai 758° aioypdv, aomidas 
Oipror Baxxov éxrpérew yadkyddrovs. 


MIEN@ETS. 


amépw ye TOdE cuptemrypcOa Edvo, 


a ¥ , ¥ lal , 
Os ovTE TaTXwY OUTE SpaV oLyHoeETAL. 


tic. bélonging to the obj. of the verb. 
H. 983; G. 279, 1. —evlev: cf. 238. 

792. o8 pa xTA.: see on 343. — 
Séopios pvydv: equiv. to ek decudy 
gvyév. Cf. Soph. O. C. 119, éerdmos 
ovOels. 

793. troSe: i.e. 7d déops0v gpvyeiv, 
Sreedom. Cf. Soph. El. 1256, EA. uddus 
yap @rxov viv érdciPepov ordua. OP. 
Ebon neryd. tovyapoty dou rédde. 

795. mpos Kévtpa Aakrifown: a 
proverb taken from the kicking of 
cattle against the goad with which 
they were driven. The meaning is, 
to offer a resistance worse than use- 
less. Cf. N. T. Acts xxvi. 14, cxanpdy 
go mpos Kévtpa Aaxti{ey. Cf. also 
Aesch. Ag. 1602. 

796. @vow: a sarcastic repetition 
of Dionysos’s word in a different sense. 


—ddvov OyAvv: cf Soph. Zl. 779, 
gévovs matpgous. While Pentheus 
means the slaughter of women, the 
poet seems to hint at the slaughter to 
be wrought by women, i.e. the death 
of Pentheus.—@yAvv: contrasted in 
thought with Bédeov, or phdrciov.— 
G£iar: sc. arodaveiy supplied from 
pédvov. 

797. mddepov tapatas: cf. Plat. 
Rep. 567 A, wéAcuov tapdrrew, Soph. 
Ant. 793, veixos rapdéas. 

798 f£. domiSas xrA.: turn the shields 
before the thyrsi (cf: troxwpeiv Tin) OF 
because of the thyrsi, i.e, flee. 

800. amdp: of a person with whom 
it is not easy to have done, trouble- 
some. The adj. is in the pred. 

801. otre macxwv otre Spav: an 
antithesis involving a universal nega- 


78 EYPITITAOY 


tied 


> 


TIEN@ETS. 


AIONT=03. 
a ¥> ¥ > fal Ud 
@ Tay, €F EoTW €v KaTaoTHOaL TAHOE. 


ti Spavra; Sovdevovra Sovdeiais ewats ; 


AIONT2O3. 


e€y@ yuvaikas Sevp’ dmrwv afw dixa. )) 


TIEN@ETS. 


805 


oipour 768° 4On Sdduov eis me pNXava. 


AIONTSO&. 


ns A , > > , ia 5 Lad 
Tov T1, coca o et Oélw Téxvais euats; 


TIEN@ETS. 


Evvebec be Kown 7a8°, iva Baxyevnr ae. 


AIONTS0&. 


kai pnv Evvebéunv todr6 vy’, tof, To Oca. 


TIEN@ETS. 


exhéperé por Sedp’ otra: od S€ tadoa héywr. 


tive, in no case whatever. Cf. Soph. 
Ant. 40, Adove’ } ’pdwrrovea, loosing or 
tying, i.e. in any possible way. 

. tdSe: Pentheus under- 
stands this of his relation to the new 
worship, the toleration of which would 
be a concession to his subjects, the 
Theban bacchantes; hence the ironi- 
cal retort, dovAcdovta SovAcias. But 
Dionysos explains his meaning in 804 
and 806. The god will make yet one 
more effort to convince Pentheus and 
save him from the folly of offering 
violence to the worshipers. He will 
himself bring the bacchantes here by 
his arts (réxvais chosen with reference 
to déArov), i.e. the influence he wields 
over them. 


807. EvvéberBe : 
the Theban women. 

808. Evvebéunv ro Ges: because he 
is himself the god. —TovTo: i.e. 
Baxxevew del. — roe Sep : contrasted in 
thought with the Theban women. — 
It has now become apparent that fur- 
ther effort to convince the reason of 
Pentheus is useless ; and in this verse 
the god declares to him, that in spite 
of his opposition, the worship shall 
continue by divine determination. By 
this means the defiance of Pentheus 
is intensified to its extreme, and the 
poet accomplishes the double object 
of justifying the visitation of blind- 
ness, now beginning to seize the mind 
of Pentheus, and of producing a 


ie. Dionysos and 


BAKXAI. 79 


AIONT2O2. 


ae 


810 Bovha of ev dpeot ovyKabnpevas ide; 
MEN@EYS. 
/ 7 ‘\ Lal 4, 
padiora, pupiov ye Sovs xpvaod orabudv. 
AIONT X02. 
, 5 5 ” nA 4 , 
ti & cis Epwra Tovde TéemTwKaS péyav ; 
, MEN@ETS. 
a“ 2 # > x > ? 
hutpas vw eicidow’ av éEwvapévas. 
AIONTXO3. 
. 815 opas 8 ios av nd€ws & Go TiKpd; 


TIEN@ETS. 


44> “ 9 Qs. Bre & , 
odd toh, own y va éddras Kabrpevos. 


AIONTSO3&. 


GAN’ e&iyvedoovoiv ce, Kav Ons ddOpa. 


striking effect by the contrast between 
his show of strength in these lines, and 
his pitiable weakness in what follows. 

810. With this verse the prepara- 
tion for the catastrophe begins. 

811. puplov crabpdv: a vast weight. 

814. Aumpas... EEwvapevas : Weck- 
lein’s interpretation is, 7t would ver me 
to see them drunken, i.e. Pentheus de- 
sires the vexation of the sight, as in 
674 ff. he desires to hear of outrages 
on the part of the bacchantes, to con- 
firm his prejudices against them. This 
interpretation seems forced. Her- 
mann makes the line interrogative, 
would it be a grief to me to see, etc.? 
But the implied answer, no, is incon- 


‘ 


sistent with oo) mixpd. If the text is 
correct, it is best to join Auvmpés with 
etpvwpevas, I should see them drunken 
to their sorrow, i.e. “it were to their 
sorrow that they had become drunken, 
if I should see them.” Pentheus, in- 
tent on the scene which he is antici- 
pating, makes no direct answer to the 
question of Dionysos. 

815. dpas: notwithstanding the 
painfulness of the sight. — vol mxpa: 
refers to éfwvwuévas, as understood by 
Pentheus, but, as meant by Dionysos, 
to the bitter consequences of Pen- 
theus’s undertaking. 

816. cad’ toOr: sc. ue ideiv dy Hd€ws 


aurds. 


80 EYPIUIAOY 


MIEN@ETS. 


aN’ eudhavas: Kalas yap e&eimas Tade. 


AIONYZO3. 


atlerr ji 
> a 
dywpev ovV OE KATLYELPHTELS OO ; 


MEN@ETS. 
820 dy ws TdxioTa, TOU xpdvov Sé ao pOova. 
AIONTX03. 
oTeiai vuv audi xpwtt Buacivous rém)ovs. 
TENET. 
ti Sn TOO ; els yuvaikas €€ avdpds TAD: 
AIONT303. 
4 4 a > ‘\ 3 “A 5 Lal 
BH oe KTdvacw, hv avnp ddOps exe. 
MEN@ETS. 
> > L 5% , + , , 
ev y elmas avTo Kai Tis ef Tahar odds. 
AIONT=03. 
825 Audvucos nas eeuovowoe rade. 


818. éydhavas: sc. ropedooua. Pen- 
theus turns suddenly to his former 
purpose to go with his army, and 
afterward as suddenly abandons the 
purpose again. The same vacillation 
appears in 846 f. 

819. dyopev: pl. for sing. 

820. row xpovov xrdA.: “No time 
must be lost.” Cf Hec. 238, épéra: 
Tov xpdvou yap od Pbova. 

821. Buocivovs mémdovs: Aiccos 
(probably a kind of cotton), after its 
introduction into Greece, was the 
principal material for the dress of 
women. 

822. els yuvaikas «rA.: shall I in- 


stead of a man become a woman? 
TeAéw, pay taxes, then, as the citi- 
zens were Classified according to their 
taxes, belong to a particular class, be 
reckoned among. Cf. Soph. O. T. 222, 
aorbs els GoTovs TEA. 

823. Men were excluded from the 
secret orgies of the women. But ef 
1224. 

824. tls codhds: pretty wise or very 
wise. tis is often used with an adj. 
to express indefiniteness, not in re- 
gard to the person, but in respect to 
the degree, giving the adj. nearly the 
same force as the superlative absolute, 
Kiihn. 470, 3; H. 702 a. 


BAKXAI. 81 


MIEN@ETS. 


4tyive 


A > 4 > # a , A lal 
TOS ow yévoT av & ov pe vovbeTe’s Kahds ; 


AIONTSO3. 


aS A Fs = , é' 
€y® OTEXO oe Swpdtwv cicw poddv. 


[MEN@EYS. 


wer tints howe 


tiva otodyv; 7% Ondrvy; add aidds p’ Eyer] 


TIEN@ETS. 


Ltt 


otohny dé tiva dis audi xpar eudov Badeiv; 


AIONTZO2. 


‘ ‘ a mm lal 
. Kony pev ert o@ Kpatt Tavady EKTEVa. 


ag 


MIEN@ETS. 


-tww 


Hreee 


X , A +e A , , 
To Sevrepov Sé gynpa Tod Kdapov Ti pot; 


AIONTZO3. 


/, , 3° 4 , y ? 
mémhou Trodjpes: emt kdpa 8 €orar pirpa. 


MIEN@ETS. 


obk ay Suvainny Ondruv évddvar orodyv. 


AIONTSO&. 


833 
836 

prelele 
829 ouKére Dearis 


_ 
Mawddeav mrpdbupos ei. 


TIENOETS. 


834 Kal TL mpds Toiad aAdo TpodOyces epuol; 


828. Wecklein rejects this line; 
hence a transposition of 829 becomes 
necessary, as well as a considerable 
derangement in the following pas- 
sage. The retention of 828, and the 
traditional order in what follows, 
gives less difficulty. 

831. ravadv: see on 455. 

833. The Ionic chiton, a full gar- 


ment with many folds reaching down 
to the feet, and the mitra, a kind of 
head-band, were the principal articles 
of the female costume. Cf 929, 
Hee. 923, wAdskapov avadéros ultpacw 
éppv0urCouar. 

836. OyAvv: O7Avs is sometimes 
used by the poets as an adj. of two 
endings. H. 229 a. 


82 EYPINIAOY 


AIONY 303. 
‘ ‘ la fis 7 /, 
835 Ovpaov ye xeipi Kal veBpod orixrov Sépos. 
TIEN@ETS. 
a al 4 1 Me J A , > 7, 
842 may Kpetooov wore pr ‘yyehav Bdkyas pol. 
AIONY203. 
837 GAN’ atwa Sevoeis cvpBalov Baxyais paynv. 
TIEN@EYS. 
5 a wn A Cal J ia 
dp0as: podety xp) mpaTov eis KaTacKomyp. 
AIONY303. 
copetepov yoo h Kaxois Onpav Kakd. : 
MIEN@EYS. 
840 Kal m@s OU aoTews elur Kadpeiovs abav; 
AIONT 303. 
841 ddods epypous ine eyo 8 Hynoopat 
TIEN@ETS. 
843 €hOdv7’ és oikovs av Soxyn Bovdredoopuat. 


837. alpa: zc. his own. — Sevoes: 
cf. Soph. Aj. 376, aiw éevoa, on which 
passage Lobeck remarks that verbs of 
wetting are often used in the sense of 
shedding. Cf. Soph. Tr, 848, réyyet 
daxpiwy &xvar. 

838. “You are right in warning me 
of that danger. I must first spy them 
out secretly.” 

839. Kkakots Onpdv kaka: chase ills 
with ills, i.e. add ills to ills. Cf. Frg. 
98, kaxots iaoOa Kad. 

842. dere pr *yyeAdv: lit. on con- 
dition that the bacchantes do not laugh 
at, i.e. “if so they may not laugh at.” 


H. 953 b; G. 266, 2. Pentheus_re- 
turns to his first plan of using force, 
that he may not in female costume 
become a laughing-stock to the bac- 
chantes. If the verse be taken after 
841, it would express Pentheus’s ac- 
quiescence in any direction of Diony- 
sos, rather than that the bacchantes 
should triumph over him. f 

843. eAOdvre BovAevoopor: when we 
have come within the house, I will con- 
sider what is best, i.e. let us come with- 
in, etc. The partic. is joined to the 
subj. of the verb, referring to the 
whole of which that subj. is a part. 


BAKXAT. 83 


AIONTSO&. 


¥ , , ES em > \ , 
efeort: TAaVTY TO ¥ €LOV EUT PETES TAP. 


TIEN@ETS. 


7 > *# a ‘ 4 > 4 
OTELXOL avs H yap om’ Exwv TopEedoomas 


a a a , , 
Toto. coior Teicopar Bovrevuacw. 


AIONTSO2. 


848 
847 


yuvaixes, avyp eis Bodov kabiorarar: 
née. 5é Baxyas, ob Oavav Sdca Sixny. 


/ 


Atovuce, vov oov epyo ov yap €L TpOow, <<» «ff 


850 repped avrov. 
a npn nh 


mpata ceerrncov PpVER, 
evels ehadpay hiacav: ws hpovav pev eV Zoe»: 


ov “ Deryjon Ondrvy evddvar orodyv, 


ee 8 


> é\Natvwv Tov dpoveww EvOvuceETaL. 


~xprite dé vw yehora By hicins ddhewv 


856 €K ToOY aTEe\\ov TOV mpl, ato dewvos 1H ny; 


855 yuvaiKdpophov aydopuevov bv doreas. 


Kr. Spr. 56,9, 2. Or the const. may 
be explained as a case of anacoluthon, 
Pentheus thinking of both at first, 
but afterwards of himself only. Most 
editors, however, change either the 
partic. to the sing., or the verb to 
the pl. act. 

844. to ¥ euov xra.: lit. my part, 
at least, is ready at hand, i.e. I, for 
my part, am ready. 

847. Boxxas: the acc. after verbs 
of motion is mostly confined to the 
names of places and things. For its 
use in the case of persons, cf. 1354. 

848. Pentheus has preceded Diony- 
sos into the palace. —dvyp els Bodov 
KaWlorara.: the man is bringing him- 
self within the cast, sc. of the net. Cf. 
Rhes, 730, cis Bérov tis Epxerat. 


850. mpara 8 exorncov pevav: 
that the mind of Pentheus has already 
been influenced by Dionysos, is evi- 
dent from the entire change in his 
attitude toward the god in the pre- 
ceding lines; but that influence has 
not yet brought him to complete 
madness. Leth: becadlidé 

851. ehadpav: sesde’: — ds: since. 

853. éfw éXavvev tov dpovety: the 
expression is borrowed from the race- 
course. Cf. Aesch. Prom. 883, tw 5 
Spduov Pepouat Avoons mvevpati. 

855. The madness of Pentheus 
with its melancholy consequences in 
the next scene is not merely a means 
for bringing about the final catastro- 
phe, but it is also a part of his pun- 
ishment for his impiety. 


84 EYPITIIAOY 


GN’ et Kdopor, dviep eis “Atdov haBav 
aTELot PNTpOS EK KEpow KaTacdayeis, 
a fe HH , Se x ‘ 
TlevOet Tpocapav’ yvooetar O€ Tov Avos 
, a 4 > , ‘ : 
860 Audvucov, ds mépuxev eAdEpois Deds archare = ee, 
Sewdraros, evvdpour, 8 ymudtatos. 4.4 
rt 


& pr AF a 


4 +.) is 17 
Zz f y P *s ; 
if wd Ar. / td AA Evid. he } s t ci~ 


> > 9 , | am 
ap €v Tavvuxiow xopots 





Ojow more hevKov 
760 avaBaxyevovoa, Sépav 
865 aifép’ cis Spooepov 

cr > ce x “ 

pirrova’, ws veBpos xdoepais 6 
: PG LATE i 74 aint 

eumrailovoa delpakos NOovais, ...+¢4, SOF we 

nui av doBepav diyn . 

Onpav ew pudrtakas 21. ¢6oden4 


857 ff. Construe mpocdywy TevOe? 
nécpoy, Symep AaBov resort eis “Aidov. 

860 f. EA\dAEpois: ZAAcpa> 5.xa, He- 
sych. Acc. to Eust. on Z/. v1. 181, €AAe- 
pos is dialectic for xaxés. — évvoporct: 
cf. Aesch. Supp. 403, Zebs érepopperhs, 
véuwy cikdtws Bdika wey Kaxois, Bou 9 
évvéuors. The conjectures adopted in 
the text of these two verses are the 
boldest of the many efforts to bring 
an appropriate sense into the passage. 
A satisfactory emendation is yet 
wanting. 

862-911. Turrp Srasimon, The 
Chorus, freed from their dread, look 
forward to the bacchic revel, which 
they will hold with a joy made the 
more intense by the distress from 
which they have escaped; they exult 
in the anticipation of triumph over 
their enemies (o7p.) ; they declare the 
certain though tardy punishment 
which overtakes the impious, and the 
necessity of holding to those beliefs 


implanted by nature and hallowed by 
usage; they repeat the refrain of 
triumph (ay7.), and extol the happi- 
ness of those who have escaped from 
trouble, and of those who find their 
joy not in uncertain hopes, but in a 
life happy from day to day (ér@é.). 

862 ff. dp’ év wavvux lous xrA.: shall 
I ever set my foot in the night-long 
dances raising the bacchie revel, etc. — 
Sépav xrA.: with reference to the wild 
tossing of the head in the bacchic 
dances. 

865. Spocepov: of the damp night- 
air. 

866 f. ds veBpos . . . euralfoura: 
cf. El. 859, Gs eis xopdv, & ptaa, Txvos, 
@s veBpds odpdvoy mhinua KovplCovca 
civ &yAata. — xdoepats: instead of 
xAvepod. See on Borpuddn 534. 

869. dvAakds: the enclosure sur- 
rounded by toils, about which men 
were stationed to take the game. 


BAKXAT. 85 


870 evmdéKTwv rep apKtav, Clo, <6 
Plone Owitccov dé paligcn i wowelea Cas 
owreivy Spounpa Kuvav: 
, > , > j 
7 Bots a@kvdpopous GeA- «nnn 
Spdone. qTeotov 
Taparroréptor, nodopeva 
2 Be pecrey ppriats Sheet 


“Gxiaponsiou8. T prec: w vAas. 
Ti TO Gopov H Ti TO Kad\LOV 


mapa Oeav yépas év BpoTois 
7] _Xtip—tacp Kopupas 





880 Tov exPpav Rpclawe KATEXEW ; ttle ety 
4/ "i 
6 Tt Kahov piror dei. Tiina rf AenerG A 





—_— —_— — 


871. Gadoowy : af Bow: 219, xvod tility of ‘Pentheus’s opposition: what 
OwiiEat. is emarwiseness, i.e. what avails it in 

872. cuvretvy xrA.: lit. strains the opposition to a god, or what is a nobler 
speed of his hounds, i.e. “incites his gift from the gods to men than, etc. 
hounds to their utmost speed.” 879 f. “Moral greatness with the 

873. poxPors xrA.: she with fleet ancient Greeks consisted no less in an 
toil, swift as the wind, springs over the immutable hatred toward foes than 
plain. Of. Hel. 1314, nodpa d&edad- in a constant love toward friends.” 
modes, Soph. O. T.- 466, &eAAddwy Lessing Laokoon, 1v. Cf. Med. 809 f. 


trmwy. — meSlov: see on 307. Bapeiay éxOpois ad plroiew edbuevq> TaY 
875. Bporav épyplas: lit. want of yap rootTwy ednrcéoraros Bios, harsh to 
men, 1.e. wilds untouched by men. Joes and kindly to friends, for the life of 


876. oxtapoxcpoo: Euripides uses such is most glorious. But Plato puts 
frequently adjs. compounded with a loftier doctrine into the mouth of 
-kouos: &xpdxouos, devdpdxouos, xAwpd- Sokrates, cf. Plat. Crito, 49 B, ovdauas 
Komos, bAdKopos, iplxouos, &Bpoxduns. dpa det Gdiceiy .. . ode Gdixovpevor upa 

877. 16 copov: the phrase is used  ayradixeiv, ds of moAAo) Ravi vas 

Toa in 203, 395, 1005, in the sense of ovecs ow: in victory. 

, and in the repetition of the 881. 6 re Kaddv KrA.: what is Y sioble, 
“refrain (897) it stands ina connection is ever dear. The words express the 
similar to of these-passages. It joy of the Chorus in retaliation as 
would seem, therefore, in this place a noble act. 7d caddy pldor is accord- 
also to refer tothe false wisdom of ing to Plato (Lys. 216 C.) an old 
Pentheus inOpposing the god. The proverb. Theognis (15) says that the 
Chorus, anticipating their deliverance Muses and Graces sang at the wed- 
as now certain, break out into exulta- ding of Kadmos, érr: xaddyv, pidov 

tion over their victory and the fu- éorl- 7b BP 0d Kaddy od pidrov early. 


86 


6ppara, pddis, Grd’ dmas 


4 QA “ 
murtov TL. TO Oetov 


EYPINIAOY 


* Avrurrpopy. 


cOévos: amevOiver 5€ Bporav 


4 3 > 4 
TOVS T AYVWMLOTVVAV 


lal \ \ la 
TyLovTas Kal py TA Deav 


¥ ‘\ id -~ 
avéovtas ody pawopeva SoKd. 


“Oapov xpdvov 7dda 
tt te 
890 


\ 
KQL 


, . 4 
KpuTTEvOUVGL d5€ zoukihos 
ret 


oly 


Onpaow Tov doentov. ’ ov 


ap KpeLaoooVv TOTE TOV VOULOV 
m 


, \ ‘ la) -f, - 
yrypooKew xpn Kal pederay, 24-4 | 


‘ fi 
4 
R y wttte NAb 


4 » p. 4 
Kovgda yap Sarava VvopAt- 


> ‘ 4Q3 ¥ 
lew ioxiv 765 exew, 


y > »¥ N s 
O TL TOT APA TO Saipdovior, 


895 


2). 3a top s a 
“TOT CY XPOVv@ PaKkp@ 


, ak , /, 
vopywov ae pioer TE TEPUKOS. 


882 f. ports x7A.: slowly but yet very 

surely, etc. Cf. Ion, 1614, det more 
xpdvia pev Ta TOY OG is ré, 
& odk ao0ev9, somehow the movements of 
the gods are ever slow, but at last they 
are not weak, Or. 420, wéAdrAer> 7d Oezov 
3 dor) towdrov pice, he is tardy, but 
the divinity is such by nature. —mortov 
TL: see on 824. 

884. darevOUver: punishes. 

885. dyvepooivay: folly. 

887. ovdv paopéva Soxg: cf 999, 
pavelog mpamtb. 

888. Kpumrevovet: évedpedovai, sc. 
of Geol. — woklrws: cunningly. 

889: Sapdv: instead of Sapod. See 
on 534.—xpodvov md$a: the figure 
has reference to the progress or lapse 
of time. The same metaphor is 
found in Frg. 43, and is ridiculed by 
Aristophanes, Ran. 100. Sandys com- 
pares the frequent use of the meta- 


phor by Shakespeare, As you like it, 
1. 2, the lazy foot of Time, the swift 
foot of Time, etc. With the thought 
of the passage, cf Frg. 969, 4 Alin 

. . otya Kal Bpade? mod) orelxovca 
pdpyer rods Kaxobs, Stay THxD.- 

891 f. Kpetooov Tav vopwy yryve- 
okew kal pederav: in one’s thought and 
practice to go beyond the established cus- 
toms. Cf. 200 ff. 331, 427 ff. 

893-896. “It is easy to recognize 
the power of what is divine, and what 
has been established by custom and 
nature.” 

893. kovda Samdva: sc. orl, the 
expense is light, i.e. it is easy. 

894. Construe, voullew rdéde exew 
icxiv.— rode: explained by 6 7... 
mepuxds. —6 te: sc. orl, the subj. 
being 7d... . wepuxds. 

895 f. Cf. 70f. 201. Cf also 
Soph. Ant. 456, where it is said of 


BAKXATIT. 


ti To Godoy H Ti TO KadALOV 
‘ “A 4 BJ a“ 
mapa Oeav yépas év Bporois 


a aA dee \ lal 
H Xélp ‘vTEp Kopudas 


6 Tt Kadov didov aei. 


evoatpeov Ye feey ds €k Oartdooas 
epvye ee, Ayseva S EKUXEV * ~ i of 


tav exOpav Kpeicow Karéyew; 
€X 


evdaipwv & ds vrepbe pdyOov 


> 4 4 > 9 9 
eyeve?’> Erepa 8 Erepos Erepov 


OABw Kat Swvdper tapndOer. 


4 XA l¢ 
Eepeat dé puplovow 
¥ > 
€T 





rekevtoocw ev OB 


Bporois, at 8 améBynoav: 
‘ x > = 4 , 
To S€ KaT npap oT Btotos nH 


910 


er Elo” edrides: at pep 














edddipor, paxapilo. 


AIONTSO3. 


A \ , + o:. ‘ A & -A 
Oe TOV a7poOvpov ov@ Qa p7) XPE@V opav 


the divine laws, def wore (Gj Taira, 
xovdels oldev e& Srov *pdyn, these exist 
eternally, and no one knows when they 
came into being ; also O. T. 867, where 
it is said of the laws of piety, “OAup- 
mos mathp pdvos, ovd€ vw Ovata vais 
avépwv @rixrev, Olympos alone is their 
father, and no mortal nature gave them 
being. — dice mepukds: the pleonasm 
is only apparent,.as the verb has so 
far lost its original force, that it fails 
to make the idea sufficiently promi- 
nent. Cf. Soph. Phil. 79, pice: regv- 
kéra. 

897-901 = 877-881. Likewise, 992- 
996= 1012-1016. In the use of the 
épiunor, or refrain, the poet imitates 


the folk-songs at the Bacchic festivals. 
See Christ’s Metrik, p. 630 ff. The 
strophe and antistrophe are sung by 
the Semi-choruses, the refrain, like 
the epode, by the whole Chorus. 

905. grepa: in different ways. 

907. S€ ri: and besides. 

909. daréBnoav: fail (gnomic aor.). 
Of. Heracl. 452, répevyev éanis. 

910 f. Construe, drm Blotds (éort) 
ebdalpwv 7d Kar’ Fuap, (rodrov) paxapt- 
(w. Of. Hec. 627, neivos bABiérartos, 
btw Kat’ juap Tvyxdver undty Kady. — 
ro kar ypap: day by day. 

912-976. Fourtn EPperrsopion. 
Dionysos comes out of the palace ; 
Pentheus follows him dressed as a 


87 


88 EYPITIAOY 


omevoovTa 7 domovoacra, Tevba héyo, 
ef rapowbe Sapdraw, ohOnti jor 


915 


oxevy YuvauKos Hawddos Baxxyns Xen, 


Entpos Te THS ONS Kal édyou KaTdoKorTOS* 
mpéres 5€ Kdduov Ovyarépwr popdyv pid. 


TIEN@EYS. 
x ‘ et es PS) rd \ e¢\ 7 8 “A 
Kal pynv opay pot ovo pev yALoVS OOKa, 


S x , \ , a) ve , rare 
Siuroas 5é OynBas kai wodkuop’ éExtadotomov: “7 
Kat Tavpos Huy mpdcbe Hyelobar Soxels 


920 


ig 


\ an , \ , 
Kal OW KEPpaTa KparTe T poo TEepuKevan, 


GX’ 4 mor joba Onp; teravpwoa yap ov. 


WEAK tt. Cm 
e 


6 beds Quapret, 


AIONT303. 
, i" > > , 
uportey @V OvUK i 


evoTrovoos Huw viv & dpas & xpy o spar. 


bacchante, his mind and senses con- 
fused in accordance with the words, 
mpata ... Avocay, 850. Cf the en- 
trance of the deranged Ajax in Soph. 
Aj. 91. 

913. omevSovra domovSacra: ex- 
presses the fatality of the effort. 
Cf. Iph. T. 201 omedbder dorodbdacra. 

914. SpOyrt: has a mid. meaning. 
H. 498. 

915. paddos: adj. 

916. Acxov: troop, band. Cf. Aesch. 
Lum, 46, ASxos yuvaxav, Sept. 112, 
mapbévwy Adxov. 

917. awpémwes: thou art like. Cf. 
Ale. 1121, BrAdpov mpds adrhy, ef ti oF 
Sone? mpémewy yuvaikl. 

918. Cf. Verg. Aen. tv. 468, de- 
mens videt Pentheus solem 
geminum et duplices se osten- 
dere Thebas. 

919. OyBas kal worktop émrrdoro- 
pov: for a similar repetition, cf. H. F. 
15, ’Apyeta relyn kal KukAwmelay mbdwy. 


920. ratpos: in the likeness of a 
bull. The conceit of Pentheus is in 
keeping with a common representa- 
tion of the god. See on 100. 

921. mpoomepuxevar: intr. depend- 
ing upon doxe?s, as if doce? had been 
used. 

922. GAN q KTA.: but art thou really 
a brute? The impf. in 06a denotes 
what has not until now been recog- 
nized. H. 833; GMT. 11, n. 6. 

923. Dionysos refers to the pres- 
ence of the god as explaining the 
marvels. 

924. Evomovdos yptv: at peace with 
us, as contrasted with ov« edpevhs. — 
vov S€ xrA.: with double meaning, like 
much which Dionysos says in this 
scene. Pentheus understands it of 
the marvels; Dionysos means the 
derangement of vision as a just pun- 
ishment, and perhaps also he alludes 
to the fact that the king now per- 
ceives him in one of the forms under 


ee 


BAKXAI. | 89 


MIENOETS. 


/ / a 3 + La ‘ > A , 
ti daivopar Snr; ovyt THv “lvods oraow 


Hh tiv “Ayavns éotdvar pntpds y euns; 


AIONTZO3&. 


> ‘ > 4 > Lal “ > c “~ 
avras éxeivas eicopayv Sox® o spar. 
GN e€ epas cou tAdKapos e&€arnyx’ ode. 
[ovx ws ey viv v7d pitpa Kabyppoca. | 


TIEN@OETS. 


¥ , ~ > , ae Sok 
evdov TPOTEL@v QUTOV AVACELWY T eyo 


kai Bakyidlwv e€ edpas peOdpyica. 


AIONTZO3. 


> > > 4 ¢ “A e , , 
GAN avrov jpets, ols oe Oeparedew péhe, 


méhw Katactedovpe: add’ dpOov Kdpa. 


MIEN@ETS. 


> 4 ‘ , \ ‘ > , / Z 
ido¥, ov Kooper col yap avaxeiperba 57. 


AIONTZO3. 


Cavai té wou xad@ou Kody é&fs Téthov ~~~ 


aTodides bd odhupoicr Teivovew ober. an% 


TIEN@ETS. 


Kapot Soxovor mapa ye defy 7dda° 


which the god was wont to manifest 
himself. 

925 f. tiv ordow éordvat: to have 
the mien.—yé: commonly translated 
namely. But the usual restrictive 
force, emphasizing the preceding 
word, is applicable here. Pentheus 
fancies that, even if he does not ap- 
pear like Ino, he may resemble his 
mother at least. 

929. The verse is unnecessary to the 
sense, and disturbs the distichomythia, 


934. iS0¥: see on 198. — Unless a 
verse has fallen out here, its place is 
supplied by the act of adjusting Pen- 
theus’s hair. 

936. orodiSes: folds; according to 
Poll. (viz. 54) the lower part of the 
folds made in the chiton in adjusting 
the girdle. Cf also Xen. Cyr. v1. 
4, 2, xiT@va oroAiwrdy Ta KdTH. 

937. SoKoter: sc. ody éfijs Telverv. — 
mapa. KTA.: at least about the right foot. 


, 
iter 


90 EYPINIAOY 


rav0évde § dp0as mapa révovr’ Eye wémos. 


AIONTZO3&. 


> , A A a cee / 
9 Tov pe TOV GoV TPoTOY HynoE didrwr, 


érav Tapa Adyov addpovas Baxyas idys ; 


940 
MIEN@ETS. 
morepa S¢ Oipoov Se€ia AaBav yepi 
THE, Baxyn paddov cixacOynoopa; 
AIONT=O2. 
ev deEva ypn yaya de€i@ odi 
¥ 7, A s /= , “~ 
aipew vi: aiva 8 ore peOeornkas ppevar. 
Crain a+ 
NEN@ETS. 
945 


dp av duvainnv tas Kifaipavos arvyas 


> “a > , “a > = ¥ / 
auTatow eharais Tots Euois wos Pepew; 


AIONTZO3&. 


diva av, ei Bovdovo: tas dé mpl dpévas 


> > ¢ “ A > ¥ 9 Lal 
OUK ELVES vylels, VuV rs) eXels OlAaS GE det. 


MIENO@ETS. 


HoxArovs dépwpe 7 xepoty avacrdcw 


950 Kopudais vroBahov auov % Bpaxiova ; 


938. ravOdvSe: on this side, i.e. the 
left. — révovra: not the foot, but the 
ankle; strictly the sinews extending 
from the heel to the leg, and so used 
of the ankle in general. Poll. (mu. 
191) defines it as 7b wAari vedpor, d 
mpos thy mrépvay maverar amd iyvios 
aptduevoy. Cf. Cycl. 400, révovros ap- 
wdoas uxpov modés, Phoen. 41, w&Aox 
xnrais révorvtas ekehotuacay moda, i.e. 
the horses struck the ankles of Oedi- 
pus before he got out of the road. 


939. ov: can it be that? 

940. mapa Acyov: contrary to thy 
expectation. 

944. pOdornkas dpevov: hast 
changed thy mind. The words may 
also mean, hast lost thy wits. Cf. 359, 
etéorns gpevav. The ambiguity is 
designed. 

946. avraiow éAdrais: pines and 
all. H. 774 a; G. 188, 5, note. 

950. Bpaxtova: a case of zeugma; 
supply in thought wep:Bardy. 


BAKXAIT, 91 


AIONTZO3. -- 


py ov ye Ta Nupdar di0dr€0ps iSpipara 
kat Ilavos edpas, ev exer oupiypata. een 4 


tLe 


a 


TIEN@ETS. 
, - 4 


Kadas éreEas: od Over vixntéov 


‘yuvaikas, é\dtavow & éuov Kptwo Séuas. 


AIONT2O3. 


Kpipe. ov Kptiv jv oe KpvdOjvar xpewv 


€\Oovra Sdd\vwov Mawddav KardoKoTov. 


TIEN@ETS. 


\ A § A A > , ¥ y 
Kat pnv SoKa odas, &v Adxpats dprifas as, 
Aextrpov exerOar pirrdrous év Epxerw. 


AIONTZO3. 


ovKovy €7 avTo TovT dmooTé\\a PvrAaE; 


Ane S tcws ohas, Hv od pr) ANbOns wapos. 


TIEN@ETS. 


Kopile Sia péons pe OnBaias rodews: 
povos yap avtav ciu’” avyp, Tohuav Tdde. 


951. Pausanias (rx, 3, 5) mentions 
a cave called Sphragidion, about fif- 
teen stadia from the summit, as the 
cave of the nymphs of Kithairon. 

952. Pan haunted especially the 
peaks and glens of the mountains, 
attended by the mountain nymphs. 

955. Cf. Iph. A. 1182, deducda Sek 
iy oe dékacOa xpedy. — kpver: pass. 
in sense. See on 588.— xpi, qv: 
cognate acc. with the pass. voice, H. 
725 c; G. 197, note 2, last part. The 
words are ominous, though not so 
understood by Pentheus. 

956. é€\Govra: with double sense, 
condition and cause. 


957 f. gore ods ExerOar: J think 
that they are held. Pentheus returns 
to the suspicion expressed in 222 ff. — 
A€xtpev HiAtarors KrA.: in the sweetest 
snares of love. 

959. ém’ avro totro pudak: to spy 
out that very thing, pbdAaé (i.e. kaTrdoKo- 
mos, 956) being in the pred. — rovro: 
1.€. €xeoOat KTA. 

960. The second part of the line 
can have no significance for Pentheus, 
and seems to be uttered aside. 

961 f. Contrast the feeling mani- 
fested in 840.— atray: i.e. OnBalwy 
implied in @nfalas. 


92 EYPITDIAOY 


AIONTSO&. - 


povos od Toews THOS UrEpKdpvets, povos: 


, > > al > / V4 s 
ToLyap O@ aywves avapevovgi.v ovs GE KXpy. ~~ 
9 , ‘ 5 ¥ 3 > ‘ / 
eou é: mopmos 8 ein €yw OwTnpLos, 


at 477 


KelOev 8 anager o addos 


TIEN@ETS. 


 TEKOVTE YE. 


AIONTSO3. 


eTLONLOV OVTA TATW. 


TIEN@ETS. 


ae sy ¥ 
€77l TOO EPXOPaL. 


AIONY303. 
9 

hepdpevos n&eus 

MEN@EYS. 
Kr aBpdrnt éeunv héyers, 

AIONY303. 

€v xepol pytpds. 
TIEN@EY. 


kal tpupav py dvayKaces, (104 


963 f. darepkdpvers: either toilest, 
or sufferest, in behalf of. Pentheus, 
of course, takes it in the former 
sense, as referring to his effort in the 
city’s behalf, to ferret out and check 
the infatuation of the bacchantes. 
And the following line, so far as it 
can have any meaning for him, is a 
promise that the contest will not be 
unworthy of his courage. — pévos: 
repeated for emphasis. Cf. Alc. 722, 
plrov 7d péyyos TodTO TOD Beod, piArov. 

964. ots we xpq: sc. dvauevew. 


| 965. mopmds: i.e. thither, as con- 
trasted with amdte. The irony in the 
following lines is intensified by the 
interruption of the sentences and by 
the brevity of the respective replies. 

967. émlonpov dvramacww : because, 
as Dionysos means, his head should 
be borne aloft on the thyrsus. Cf. 


1139 ff.— roSe: ie. érlonuos civat 
Tao. 
968. dBpdrnra. .. A€yers: thou tell- 


est of luxury for me, lit. as mine. 
969. tpupav: to fare softly. 


BAKXAT. 93 


AIONTSO&. 


90 tpudds ye Todd. 


TIEN@ETS. 


3&7 x Y 
aciov EV ATTOPLAL 


AIONTSO&. 


8 A ‘ PS) ‘ tes * Ps F 4, 

ewos od dewds Kami Sei’ epyer abn, 

9 > > a“ x e / i4 

@oT ovpav@ atypilov evpycets K)éos. 
¥ 3 > , a sd Aire 4 
extev, Ayavn, xelpas at OF dudomopot 


Kddpou Ovyarépes: Tov veaviay ayw 


95 TOvd cis dydva péyar, 6 viKjowv S eyo 
‘ 4 / > ¥ 3 : Pe a 
Kat Bpop.ds €or. Tada 8 adtd onpavel. 


XOPOS. /” » 
¥ ‘ , , fe MS Vin 
ite Ooai Avooas Kives i’ eis dpos, 


(AVAAL 


Biacov vf exyovor Kddpov Kdpau, 


970. tpvdds ye Touiobe: yes, with 
such softness, i.e. such as is meant by 
pepduevos . . . untpds. — dklwv KTA.: 
verily, worthy of it are the deeds I am 
undertaking. For the use of péy as 
equivalent to uhy in Attic, cf Med. 
676, Oguis pev jas xpnoudy cidévan 
Geod ; Kiihn. 508, 2. 

971 f. Addressed to Pentheus as 
he departs. The lines following are 
spoken after his withdrawal. — Sava 
amdQy: dread woes, i.e. as Pentheus 
understands it, those which he will 
cause. — ‘ov: rising. Cf. 1073, 
1088, Hipp. 1207, nip? obpavg ornpicor, 
Hes. Th. 779, mpbs otpavdy éorhpixra. 
—ovtpave: for the dat. denoting di- 
rection, cf. Pind. J. v. 41, avarelvats 
oipave xeipas, Kr. Dial. 46, 2, 4. 

976. wal: either and, or even; Di- 
onysos means the latter.— aire on- 
paved: sc. rd mpayua, or Td epyov, the 
event itself will show. Kr. Spr. 61, 5, 
7.— Dionysos follows Pentheus. 


977-1023. Fourtu Stastmon. The 
Chorus call upon the spirits of mad- 
ness to rouse the Maenads against 
the mad spy, they foretell the rage of 
Agaue against her unrecognized child 
(977-991), and invoke justice to take 
vengeance upon the godless one who 
in his folly is intruding into the rites 
of Bacchus and Kybele (992-1001). 
They then turn to the painless life of 
those who cultivate a temperate mind 
and ready obedience to the gods; they 
declare their joy in the pursuit of a 
life of piety (1002-1011), repeat the 
invocation of justice (1012-1016), and 
close by calling upon Dionysos to 
appear and bring into the toils of 
death the disturber of the bacchantes 
(1017-1023). The dochmiac rhythm 
is in keeping with the agitation of 
the Chorus, 

977. Avooas xives: the Erinyes. 
In Aesch. Cho, 1054, Soph. Zl, 1388 
also, they are called xives. 


Comers 


i 0 AsO W 


Ur a 


94 


avovoTpyaare vw 


“  oKdaebes oerat 


5 5 4 
Soxevovta, Mawdaow 8 amicen: 


985 Tis ode Kadpeiwv 


EYPIIIAOY 


a eel 
. | A 5 , nw 
emt Tov ev yuvaiKopnip@ oroda, 
Mauwddev tov KataoKoTrov dua ddy. 
> 
pdrnp mpatd vw hevpas amo méTpas = % 


\ 


=o 
CMAAS 


paoThp splipeiur be deem 51 


és dpos és dpos eod’ ewodrev, @ Baxyau; 


a2 ¥ 
TiS apa vw ETEKEV 5 


> ‘ > 9 A ¥ 
ov yap €€ aiwaros yuvarkav edu, 


AuBvooay yévos. 


Neaivas Sé Tivos 68 7 Topydvev 


itw dika davepods itw Eupnddpos 


dovevovoa aywav Svapmrak 


995 


TOKOV YnYEVn. 

979. vlv: for adrds, but in 982 for 
abrév. 

980. yuvatkopluw: cf Frg. 185, 
yovainoplup Siampémeis poppedpart. 

981. MawwadSev: dependent upon 
kardoxomoyv, as in 956. 
| 982 f. dard wérpas: with Soxedvovra. 
+ okormedos: sc. éorl, where is a 
lookout. Of. Ion, 714, deipddes Mapva- 
god wérpas exovca oxdmedov ovpduidy 
@ pay. The prediction of these 
lines is not in conformity with the 
result. Cf 1070 ff. The Ms. reading 
4 oxédomos would be supported by the 
facts, if there were any good author- 
ity for taking oxdAoy, as many of the 
conimentators do, in the sense of tree. 
A satisfactory emendation is wanting. 

985. Kafpelov: with naorhp. 990 
f. is against the connection with rls. 

986. dp®pevov: substituted by Weck- 


e 


Tov abeov dvopov dducov *Eyiovos 


lein for the impossible Ms. reading, 
and explained, early in the morning, 
lit. rising early. Against this emenda- 
tion is the fact that the early morn- 
ing would have been long since past. 
Cf. 677 ff. The simplest of the nu- 
merous suggestions is dpsdpduev, made 
after the analogy of ép:8drns. In that 
case the last syllable of the bacchius 
is resolved (H. 1126 p.), though in the 
corresponding verse of the antistro- 
phe it is unresolved. Translate, this 
spy upon mountain-ranging Thebans. 

991. AiBueody: the Schol. on 
Pind. P. x. 72 says that some placed 
the Gorgons among the Aethiopians, 
towards the east and south, others at 
the extremity of Lybia, toward the 
west. 

992. davepds: used here as an adj, 
of two endings. H. 225 a; G. 68, n, 


BAKXAI. 95 


a 297 , , +9 a 
os adike YVORE eRe T Opy? 


*Aytio roby 


mept Ta Baxxe opyud Te Beas parpos - 


paveiorg mpamioe. Zc“ fAtr“ 
Tapakdmm Te Aypare oré\\erat 


betial, chad 


Tay avikaTov ws KpaTiow vikap. 
yvopav cadpova Ovarois ampopactctois 


eis TA Ocdv edu 


Bpoteiay 7° Exew aduos Bios. 


1005 7d coddy ov POova: 
xaipw Onpedvov- 


4Q>. 4 AD z% as SN 
oa Tad ETepa peydha ghavép ayovr aet 


émt ta Kaha Biov, 


Hpap «is vixta T evayouvt evoePew, 
1010 Ta 8 ew vopya Sixas éxBaddv- 


“A 4 
ta TYyav Geovs. 


996. ynyevq: cf. 588 ff. The word 
contains an allusion to Pentheus’s 
want of apprehension for the higher 
truth. 

997 ff. Ss xrA.: since he, etc., the 
ground of the preceding appeal to 
justice. 

998. qwepl ra Spyia: as regards the 
rites, explaining ddfkm ... édpyd.— 
Ocds parpds: Kybele. Cf. 78, 131. 

1001. rdv dvixarov vixav: the vic- 
tory not to be won. The Ms. in 1001- 
1011 abounds in difficulties, which 
numerous conjectures have done little 
to relieve. The words of Brunck 
are still applicable, who says of these 
verses, “Praetereat lector, nisi 
siquis in eorum emendatione 
ingenii vires experiri velit; 
sed id non ante adgrediatur 
quam Divae Criticae lita 
verit.” 

1002 ff. “To preserve the mind in 
prudence (céppova), and in a mood 


befitting mortals (Sporefay) brings (lit. 
is, pv) a painless life to men who are 
prompt to obey (dmpopacterois) in 
things pertaining to the gods.” — Bpo- 
telav: cf. 396, Ovnrd. 

1005. +o codov: see on 203. 

1007 f. peydAa davepd: in 1198 
peydAa kal pavepd. — G&yovTa TA. : con- 
strue, del a&yovta Blov ém) ta Kadd. 


Cf. Frg. 671, 6 & eis 1d oGgpov én’ - 


Gperhy 7 kywv ews (nrwtds dvOpa- 
Tow. 

1009. pap xrA.: lit. throughout the 
day and into the night, ic. day and 
night. Cf. 425, H. F. 505, & juépas 
eis vinta ph Avmovmevor, Soph. Ant. 
840, gros eis ros. ~evayouvra: with 
the indefinite subj. of ctoeBeiv. — 
evoreBetv, rysay (1011): apps. to rdde. 

1010. ra ef vopipa Slkas: those 
usages that violate the right. Cf. 331, 
also Andr. 787, wndtv Sixas Ew Kpdros 
év OarAduos Ka réAc Sbvacba. 


fiz Meet 


O¢ 
{ 


96 


EYPIUIAOY 


itw Sika davepds itrw Eudnddpos 


dovevovoa Aawov Siaprat 


1015 Tov aBeov avopov adiKov *Exiovos 


TOKOV ynyevn. 


pavn A TA¥AOS i) twohdKpavos ideiv 
Spaxwv 7 Tupupheyov - Ata 


Spapnas ewv. 
1020 


"Erdos. 


ttting 
, 


iP, & Baxye, Onpaypevrg Bakyav 


yedovTe mpoo chy mepiBade 


WAAL, 


Bpoxov mt Oavacyrov head ly 


avyehav TECOVTL TAY MawdSuv. 


ATTEAOS. 


@ Sap’ 6 mpiv ToT’ mordxens av “Ed\dda, 


1025 


SiSwviov YEpovtos, Os TO yayeves 
kyear Spdxovros é eomrenp” se ate év yoaus Aépos, Corp, der ie 


as oe otevdlw, Soddos dv pev, GAN opws. 
‘fo 4 ‘ A a 
[xpnorotar Sovdouw cupdopa ta Seororav. | 


1012 ff. Upon the Ephymnion, see 
on 897. 

1017. traipos: as a bull. See on 
100. Nonnos (Dionys. x1. 43 ff.) de- 
scribes the god as taking the form of 
the serpent, the lion, and other ani- 
mals. See Introd. p. 11. 

1019. spdofar: the act., as above 
in Sez, is generally used in this idiom. 
H. 952 a; G. 261, 2, Rem. 

1020 ff. The text is uncertain; as 
it stands, construe, yeAdvT: mpocém@ 
(dat. of manner) wepiBadre Bpdxov On- 
parypevTa Baxxav mecdvrt em) Oavdoipov 
ayéAay, 1.€. Tay Maivddwv.— OnpaypevTa 
Baxxay: the pursuer of the Bacchantes. 
—Bpcxov: explained by weodvri,.. 
Mauvddwv. — mwerovre éml xrA.: lit. when 
he attacks, i.e. let him attack a deadly 


band. —®avaewpov: contains the lead- 
ing idea. 

1024-1392. Tur Exopos. The 
unfolding of the denouement begins 
with the messenger’s tidings. 

1026. Spdxovros ddeos : dragon. Up- 
on the tautology, cf. 1365, dpyw ki«vor, 
Iph. T. 1089, dpuis GAnvév, Hom. I. 
v. 783, cvol kdmpoow, ibid. xvi. 389, 
tatpowo Bods. Cf. also the Schol. on 
Or. 479, yévos piv 6 bdis, eldos BE 6 Spd- 
kwv.— éy yous: superfluous after 
ynyevées. Of. Phoen. 668, yarereis 8i- 
kov ddd6vras eis Babvowdpous yas. 

1027. GAN dpws: cf Ar. Acharn. 956, 
mdvtws uty otoes ovdty byes, GAA’ Baws. 

1028. The line is interpolated from 
Med. 54, where it is followed by xa- 
k@s nitvovra, requisite to the sense. 


BAKXAI. 97 


XOPOS. 


yw ¥ 3 a , , 
Tt rs) COTW; EK Baxyov TL PYNVVELS VEOV ; 


ATTEAOS. 


1030 


IleOevs odkwde, mais “Exiovos tarpés. 


XOPOS. 


avat ® Boome eds gaiver péyas. 


ATTEAOS. 


lal , , a 3 A & > 9'N A > ww 
mos ons; ti Todvr edeEas; H emt Tots cots 
Xaipes KaKas Tparorovat dSeooras, yova; 


XOPOS. 


evalw &éva pero BapBapors: 


1035 


Hz cotste 


> , ‘ “A ¢ \ rd ( 
ovKere yap Seapav bd PdBo mrHTCo. 


ATTEAOS. 


@7nBas 8 dvavdpovs GS dyes * * * * ; 


XOPOS. 


6 Advucos 6 Avs traits, od OnBau 


, ¥ ee ee: 
KpaTos EXOVvo Epov. 


A. witlrirg 


= Sie ATTEAOS. 


/ \ , \ se5"* 1S , 
TVYYVWOOTA HEV OOl~, a7Ayv €7T elerpyacpevois 


1030. trais rarpds: a common form 
of expression where the character of 
the father is thought of. Cf Tro. 
723, A€tas aplorov maida wh tTpépew ma- 
tpés, also Soph. Ei. 341, 365, Phil. 3. 
The idea here is, “the child of so 
illustrious a father as Echion.” 

1031. The dochmiac rhythm is ap- 
propriate to the excitement into which 
the Chorus are thrown by the news of 
Pentheus’s death. The same rhythm 
is continued in 1034-5, 1037-8, 1041-2. 


1034. va : fem.— BapBdpors : Févors. 


1036. There seems to be a lacuna 
here covering the end of this verse 
and perhaps also another verse.— 
dvdvSpous aSe: i.e. to such a degree 
that it will endure this contempt of 
its prince; some such thought as this 
may have been expressed in the words 
that followed. Cf. Soph. O. C. 917, 
kat wor wéAw Kévavdpov 4) SovAnv tid 
Zdotas elvat, hy? toov TH wndevl.— ayes: 
thinkest. 

1038. éyov: over me. 
147, n. 1. 


H. 694; G. 


98 


1040 


EYPINIAOY 


lal , 5 an > 4 
KQKOLOL KOALPEW, W YUVALKES, OV KQAOV. 


XOPOS. 


¥ 4, 4 Y a / , 

ewerré ror, ppacov, Tire popo OvyoKe 

¥ + , > > / > , 

aoukos aducad 7 exropilwv avyp; 
brute 


AITEAOS. 


éret Depdmrvas THhade OnBaias Moves 
Murdvres €€€Bnpev “Acwrod pods, 


1045 


héwas KiBarpoveov cioeBdddopev 


TlevOevs re Kaye, Ssoeory yap eimouny, 


févos & ds mE, FouEys Hv Gewspias. ( Loran 


f 
. - Deassva I ) 


mpérrov pev ody trompov Lopev VAMOS, 
Ta T €K TOOV ma Kal Pasoonys aro 


1050 oplorrss, as OPP ee ey ov 


apaperee 


jv © ayKos. dudixpyuvov, voace SudBpoxor, «<% 
mevKaot ovoKiacov, evOa Mawddes 


ial > »¥ A > “ l4 
Radio exXoveras yetptis "eh repavols wares 
at pev yap avrav} Oipoov éxdedourréra 


1055 


ry MAMA 


Kuo KOpAT AY | avbis eavérrepor, 


at 8 éxdirodoat moucih as mado lvyd, 


-~_-—- 


1043, Gepdarvas : “abodes, —0ovds: 
see on 664. 

1044. éf€Bypev: trans. H. 712 c. 

1045. Agwas: see on 677. 

1048. Wopev: the poets sometimes 
use 1(w, @doow, jut, and similar verbs 
as trans. Cf. Aesch. Ag. 183, oéAua 
jpevor, Soph. Aj. 249, (uydy é(duevor. 
H. 712 b. 

1049 f. td... . c@lovres: with noise- 
less foot and silent tongue, more lit. 
keeping silent the sound from foot and 
tongue. 

1052. evexid{ov : casting thick shade, 
said poetice of the place. 


~ 1055. Korg : : commonly construed 
with xoujrny, but better with éxreAor- 
néra, since the latter byitself can 
hardly suggest the appropriate mean- 
ing. Translate;swhich had lost its 
crown of ivy, lit. wanting in respect to 
ivy. For the dat. instead of.the gen., 
cf. Thuc. vi. 69, mpoOuulg err 
Kopytny eEaverrepov: were wreathi 
with a garland, lit. so that it was gar- 
landed. 

1056. ds madou xra.: of. Or. 44, 
deuviwy kro wnda dpomaios, mGAos Gs Gard 
(vod. — éxAurroterat : 
qanoy as the text stands; and the 


BAKXAT, 99 


4 


f . 
tot Andreu 


addydaus pédos. 


Baxyetov bieehoion 


Tevbeds 8 6 aiviisoen fophve ovx dpay ox)ov 


€heEe Todd * 
1060 


Oo 
E& ob aad EOTApeED, 
v« e€icvodpat Mawddwr drow neon, 


by Dov & éemreuBas 7) eharny tapaulxeva ¥? 
Sou. av dp0as Mawddev aicyxpovpyiav. 


touvtedlev “dyn TOD gévou Bap’ Opa 


Aa Bay vp eharns oupavioy aK pov Khddor - pring 


1065 KaTHYEV, 


nye, 


KukdovTo 8 wate Té€ov 7 KUPTOS TpoxXos , are _ 
Topuy ppagepevos Tepupopav duxodpspor: 


rats Khov" Opevov O Sévos Xepow ayov c 


hye «is yeh médov* ( 


a eye. 


Qe? 


eayuTreD eis pig epypar ovxt Ovnra PPR 


1070 


TlevOéa & iSpvcas ée\ativev olwv emt, 


dpbov peBia Sia. yepav Brdornp’ avo 


b] 4 Y X é] , 4 
aTpeua, duviaoowr PY avaYaITio€eLe VU. 


thought seems to be that some of 
the Maenads are bounding along 
answering one another with bacchic 
songs, just as colts spring from the 
_ yoke, neighing to one another. It is 
not improbable, however, that a verse 
has fallen out.—mouxtda fvyd: the 
epithet is used as in the Homeric 
appara mowtra, Il, v. 239. 

1060. Construe, ob« efixvotuou (sc. 
dpOarpmois) Bro: pdOwy Mavddwr, se. 
éert, “I cannot see the place where 
the Maenads are holding their dance.” 





—po0wv: a coarse dance, according ” 


to the Schol. on Ar. Eq. 697. 

1063. O€apa: a wondrous sight. Cf. 
760. 

1064. otpdviov: in the sense of 
ovpavéunnes. Cf. Tro. 1087, relxea 
KuxAdnt’ odpania. 

1065. karijyev «rA.: the force of 
the preposition extends to the follow- 
ing verbs. Cf. Hec. 167, dmwdréoar’ 


wrécate, Med. 1252, rarlder’ Sere. — 
The repetition of the verb pictures 
the gradual bending of the tree. 

1066 f. dore ... EAtKoOSpopov: Like 
a bow, or rounded wheel whose encircling 
outline is marked off with the compasses, 
lit. marked off as to its outline. Of. 
Frg. 385, where the letter Theta is 
described as follows: kdkAos tis as 
répvoiow ékpmetpovmevos, ovTos 8 exer 
onuciov év péow capes. This use of 
mepipopd for wepipépera does not seem 
to occur elsewhere, and in so far 
is against the reading éA:kodpduoy 
adopted in the text. 

1068. as xrA.: the thought of the 
principal sentence is taken up again 
after the comparison, as in the Ho- 
meric similes. For other traces of the 
epic style in the dyyeAtkal fhoeis, see 
on 1056, 100. 

1072. drpépa: gently, slowly. — ava- 
xatrioee: in strict use said of a horse 


100 EYPITITIAOY 


6p07 8 és dpbdv aibép’ éornpilero 
€yovoa vetos Seordrnv epyjpevor. 
1075 whOn dé paddov 7} Karetde Mawddas: 


9 \ ¥ an > , » 
Oogov yap ovTe dndos Hv Odoowr avo, 


Ne AE'S s \ Si ete, ae A A 
KQL TOV E€vov EV OUKET elo opav TAapyvV, 


> > > / la ¢ \ > / 

ex © aifépos davy tis, ws pev eixdorar 
/ > / > 4 

Avdvucos, dveBonoer @ vedvioes, 


1080 dyw Tov Upas Kae Taya T opyva 
phar rib uievov' GAha Tiyrwpetobe vw. fuied= 


Kal Tad?’ ap’ iyopeve Kat pds ovpavdv 
Kal yatay éorypile pas cEuvov Tupds. 
aiynoe 8 aifyp, otya 8 eee ce vaarn 
1085 gee elxe, liyd 8 ovK av nKovoas Bony. 


id 
at 8 oow AX ov ais Sedeypevae 


€otnoav dp0a Kal Sijnveyxay Kdpas. 


6 8 adlus émexd\evocev: as 8 evapora 


cadn sekguopen. Basxion Kddpou KOpau, 


1090 y&av medetad OKornr ony noooves, 
froSay z Exourar cuvTovois Spopypace | 


that rears and throws its rider. The 
figure is continued in 1074, vérois. 

1073. And it rose upright high into 
the air. —dp0ov: not strictly applica- 
ble to aiéépa, but repeated in the sense 
of rising straight up, to intensify the 
picture of Pentheus’s elevation. 

1076. dcov otmw: scarcely.. H. 
1035 b; Kiihn. 555, A 7. 

1077. «al: where the English idiom 
uses when, a common const. Cf. 1082, 
Soph. Ant. 1186, rvyxdvw KayOpa 
xarGoa, kal we POdyyos BdAAet. 

1078. avy tis: of. [ph. T. 1385, 
vads & éx péons épbéytaro Boh tis, 
Soph. O. T. 1623, p0éyua ® etalpyns 
Tiwds Obdter. 


1079. Atovvoes: instead of A:ovi- 
cov with an implied gwvh. Cf H. F. 
1002, #A@ev eixdv, ds dpiv éepalvero, 
TlaAAds. — vedviSes: doubtless appli- 
cable to the most of the Theban bac- 
chantes, though not to their leader, 


_ Agaue. 


1081. yéAwv: pred. with tuas... 
dpywa. Cf. Hdt. 11. 29, yéAwra ent 
Onoecbe. 

1087. éxrynrav dpc: 
pricked up their ears. 
27, dp0dv obs Tarnow. 

1090. medelas xrdA.: of Soph. O. C. 
1081, deAAala taxdppworos merAcids. 

1091. This verse might be con- 
strued here, if #ocova be substituted 


sc. Ta OTa, 
Cf. Soph. El. 


BAKXAI. 101 


An “Ayain avyyovot & sudamopor 
macai te Bakar: Sua 5é Yeywdppov vdans 


dypav 7 émndav Oeod mvoaiow eupavets, = force, 
as 8 eldov ary Seomorny epryjpevov, % j +9 


1095 


mporov per avToU xeppddas kparasPéhous 
€ppimtov, avtimupyov éemuBaca. wérpay, 


»¥ 4 > 
olouct T 


> 7 > / 
éXativoisw HKovTilero* 


aAvdau de Oipoous i ieoav Ou aifépos 


1100 


TevOéus, aroxov Svornvor: GAN’ ovK HvUTOV. 


Kpetooov yap thos 7Is mpoOupias Exwv 
Kabnoro tThipwv, amropia. eAnppevos. 
Tehos Sé Spuivous cuwTpiawdvoar Kdddois 


pitas dverndpag.coy, dowrjpous Boxdotse: 


Pog nee L- 


1105 


émet S€ poyOorv Tépmar ovK e&yvuTor, 
OX CPHLAT 


fe,ta- LY 
ey 
as 


ee "Ayatn: hépe, mepFragar KUKA@ 


ees a 


Xopovs Kpudaious. 


for ficcoves, or tpéxovoeu for txovou. 
It is, however, quite superfluous. 

1096. avrov: gen. with Zppimror, as 
with verbs of aiming at. Cf. 1099, 
fecay TlevOéws. — kpararBoAous : nearly 
equiv. to xparads. Instead of an 
adyerb the poets often join to the 
subj. or obj. an adj. formed by com- 
position with the stem of the verb, or 
that of asynonymous verb. Cf. 1111, 
Xaparmerhs winter, Med. 277, wavéans 
amdAAvman. 

1097. dytimvpyov: towering oppo- 
site. Cf. Aesch. Eum. 687, réAw rhvd 
iplmupyov avreripywoar, i.e. reared the 
fortress of the Areopagus over against 
the Acropolis. 

1098. yKovrifero: lit. was aimed at. 
The subj.is Pentheus. For a similar 
change of subj. cf 1124. 


mropJov ha Beobe, Mawddes, Tov aBcete: wee Se 
Op as elope, pnd darayyethy Beod | 
ai d€ pupiavy xépa 


fig. 
/ 


1100. erdxov Svernvov: a pitiable 
aim. See on 9.— ov« qvvroy: did not 
accomplish, sc. their object. 

1101. Kpetoooy infos ris tpobuplas : 
cf. Aesch. Ag. 1376, tos xpetacov éx- 
anohpatos.— rs mpoOvplas: sc. Tay 
Baxxav. Pentheus sat so high, that 
the bacchantes in spite of their most 
eager efforts could not reach him. 

1102. AeAnppevos: rare for ciAnuué 
vos. Of. Ion, 1118, Cycl. 433. Kiihn. 
343. 


1103. cuvrpratvotoras : -shiienemiaagueniae 
paeces, lit. orth the trident. See on 348. 


1104. doiSijpors poxAois: repeats 
Sputvors KAddos, expressing wonder at 
the deed of the bacchantes. 

1109. puplav xépa: cf. Tro. 1168, 
puplov xepds, Phoen. 441, uuplay Adyxnv. 


[rtf gota 


102 


1110 


EYPIMIAOY 


o. oh “\ 7 > , , 
mporélecay earn xakavéoracay xOovds. 


dod de Ddécoar | inpdbev Xapaumrerns “.<cFipke 
minTeL Mpos ovdas puplois oiw@ypace +26 


TlevOevs: Kakod yap éeyyis dv eudvbave. 
mpatn Se pyrnp Hpkev tepia pdvov 


\ , a So , , » 
KQL TT POO TLTVEL vw"; O OF MLITPAV KOLNS ATO 


1115 


¥ 9 , ‘ ld 
Eppupev, as vi yrwpicaca py KTaVOL 


i 


Jhh eG wey 


TrAjpev *Ayatyn, Kat héyer tmapnidos 


4 > , 
yavwv* €y@ TOL, 


nw tee A 4 
pATEp, elt mats ober 


TlevOevs, dv Erexes ev Sdpors "Exiovos: 


1120 


oixreipe & & pHrép pe) pnde tals eats 


Gpaprigngy oTéppa cov KaTaKtavys. 
) 8 ddpoy eretoa Kai Siacrpdpous: hilo 


AMLE#L VEY ad 


Kopas Eliccova’, ov ppovova’ & xpr dpovely, 
€xk Baxytov kareixer’, od Sree wer 


1125 


batho 
oe 


haBovoa 8 a@dévais apiorepav xépa, 


mrevpaicw avt.Baoa Tod Svadaipovos 


> , > > ess , 
ameordpatev @HOV, OVX VTO abévous, 


GAN’ 6 Oeds edpdpevay €mTEOLOOU XEpow. 


"Iva S€ tant Odrep’ e€eipydlero 


1130 


e “ , > / 9, ae 
pynyvvca oapKkas, Avtovdn T oxos TE 


aA 
TAS 


emetxe Bakyav: jv dé mao” duovd Bor, 
& pev otevdlov ooov ériyyavey trvéwr, 


1114. tepla: as priestess, with refer- 
ence to the sacrifice which she offers 
to Dionysos in killing Pentheus. Cf 
1246. 

1120. olkrepe 8 @ prijrép pe: wpen- 
the-ordory—c/, 1381, Hec. 432, xduil? 
’Obvoced Me. 

1124. gree : the subj. is Pentheus. 

1126. avriBdoa: pressing her foot 


against. 
1129. rami Odrep’ éEepydtero: lit. 


performed the task upon the other side. 

Cf. Ovid, Met. 111. 722, dextramque 
precantis abstulit; Inoo lace- 
rata est altera raptu. 

1131. émetye : sc. abr@, pressed upon 
him. — waa Boy: every kind of cry, 
explained by what follows. 

1132. 6 pév orevdtov: as if éBdwv 
had been used in the preceding clause, 
while the corresponding member, a? 


§ HAdAafov, changes to the independent 


BAKXAT. 


at & 7Addalov. 


103 


epepe 0 1) ev @drENV,= Yes» 


n 8 txvos avrais apBvdais: yupvodvro dé 


1135 


mrevpal omapaypotss Taca SF YuaToBEy fori, 


xetpas Suerpaipile odpKa Ievbéws. 

ketrar S€ ywpis capa, TO pev brd arvddots r+ 
métpais, TO S vAns & Babv&idw PdBn, OO 7 

> e BD) C , . lal Ss LOX 
ov pddvoy Cytnua: Kpara S aédov, 


omep aBovoa Tvyxaver mTnpP KXEpoLw, 
antao én axpov Oipgov as dpecrépou 


éper €ovTos dia KiBarpavos pécov, 


Aumovo” ddehpas év xopoto. Mawddwv. 
Vite 


xope S¢ Onpa Svomdtpnw yavpoupevyn ey. +. 


1145 


, ¥ “a » > nw , 
Teixewy €ow TVD, dvakahodoa BaKxvov 


tov évyKivayov, Tov Evvepydrny aypas, /«« 


Tov Ka\d\wiKov, ) Sdkpva vikndhope.= (a 4% 





éya pev ody THO exrodav TH Evpdopa 


dre, “Ayatny mplv podety mpos Sdéuara. 


1150 


To acwdpovely 5é Kai céBew Ta TdV Dedv 


, > S te ‘ , 
KdAMOTOV* oipar 0 avTO Kal GopwTaToV 


> A 
Ovnrotow iva, KTHWA Toto’ Ypwpévors. 


const. Cf. Heracl. 39, dvotv yepdvrow 
d& otparnyeira guyh: eye piv duoh 
Toigde karxalywy téxvos, h & ad rd 
ORjAv yévos og Cet. 

1134. tyvos: foot. —atvrais: see on 


1135. mAevpal: ribs. The bacchan- 
tes laid bare the ribs by tearing off 
the flesh. 

1137. xwpls: scattered. 

1138. BabvévAw: instead of Babv- 
tirov. See on Borpuddn, 534. 

1144. Cf. Accius, Bacch. Frg. xv11. 
quanta in venando adfecta 
est laetitudine. 


1146 f. tov... KadAlviKov: see on 
725. — 1 «TA.: she who wins but tears 
as the victor’s prize. 

1148. tvphopa: for the case, cf 
Supp. 1118, exwodav elva: véos, Or. 
548, rots Adyouow exroddv. The const. 
in its origin is the dat. of interest. 

1151. avre: i.e. rd cwppoveiy Kd. 

1152. rotor xpapévors: sc. abr@, 7.c. 
T@ cwhpoveiv etA. For the meaning 
of xpwpévors, cf. 431.— The messenger 
withdraws. 

1153-1167. The Chorus break out 
into exultation over the triumph of 
Dionysos, but are interrupted by the 


ton meds g 


104 


EYPITIAOY 


XOPOS. f 


dvaxopevoapey Baxxwov, 


dvaBodcaper euppopay 
tav Tov Spdkovros éxyevéra Tevbéws, Grane 2 De 


1155 


Os Tav Onruyern orodav 
vapOnkd te muorov “Avda 


ehaBev evOupcor, 


Tadpov mponyntnpa cuppopas Exar. hiiletylr 


1160 Bdxyat Kadpeta, 


Tov Kahdivixov kdewov e&erpatare 


F) , > , 
Els yoov, «ls SdKpva. 


‘\ bE] , > y Ud 
Kahos ayov, év aipat. oralovoay 


Xépa mepiBadreiy Téxvov. 
GN’ eicop@ yap eis Sduous éppopernv 


1165 


TlevOéws "Ayainy pntép ev Siactpdpos “(re Oa 
doco, Séxerbe KGmov eviov Jeod. 


entrance of Agaue. Verses 1165-7 
are spoken by the Coryphaeus. 

1156. Ondrvyevq: equiv. to OfArciay. 
The composition with -yevfs, as with 
-e1dhs, -dns, ~hpns, often merely serves 
to give the word a fuller sound, 
a favorite feature in the style of ‘the 
Tragedies. 

1157 f. vdpOnKa eiOupeov : the shape- 
ly thyrsus. Cf. Hipp. 773, evdotos 
godpa, Med. 200, daires etderrvor, H. F. 
689, eras yévos, a form of expres- 
sion, common with Euripides, in which 
the last part of the compound is re- 
dundant. See on xpara:Bdrous, 1096. 
—morov “AiSav: app. to vdpOnxa, and 
commonly translated certain death ; 
but the text seems to be incorrect. 
Biorovidwy (an epithet of the bacchan- 
tes, cf. Hor. Carm. m1. 19, 20) has 
been proposed. 


1159. Cf 920, 1017. ; 

1161 f. rov kadAtviKoy . . . els yoov: 
ye have made the victorious god (cf. 
1147) glorious in wailing, i.e. in the 
destruction of his enemies. 

1163 f. The text is doubtless cor- 
rupt. As it stands, construe, epi 
Banreiv réxvov xépa ord(oveay év aluart 
(avrod). The dat. is the usual const. 
with wepiBadciv, but the gen. may be 
defended by the Homeric phrases, 
Il. 1. 393, weploxeo masdds, v. 21, wepr- 
Bivar deAperod. 

1166. év: of. H. F. 932, év erpoai- 
ow duparwr. 

1167. xa@pov: revel, said in irony 
of Agaue’s exultant entrance with 
the sign of the god’s triumph. — 
evlov Geo: cf. 157. 

1168-1215. Agaue enters bearing 
the blood-stained head of Pentheus. 


oF ue f - eCtLhtrsa 21 ee 
Mgecpeo $ a ane er F on eee 
$ Or rir I \ a —jer 


2— 
CHa ee cee s 


’"Aaiddes Baxyau, 


Tt pw OpoBives 3 SZ wf 


ATATH. 


Cate Al & rit te 
“ BAKXAI. =" 
ATATH. 
Zrpoy. 
XOPOS. 


pépopev €€ dpeos 
1170 
pakdpiov Oypav. 


éduka vedtopov emt pedabpa, 


XOPOS. 


c aA 7 , , 
6p® Kai oe Seopa ciyKapov. 


ATATH. 


YW et ae 
cuapya Tovd avev Bpdxav fey 4“< -% 


/ 


, > dl Yay 
AéeovTos — vu UV — véov tv, ¢4.44 


1175 @s Opav mapa. 


In what follows, the poet unfolds the 
tragic Peripetia (Zor: 5¢ mepeméresa pev 
h eis 7d évartiov tev mpaTTopevwy meta- 
Bodh, Arist. Poet. 11, 1) which was 
foreshadowed in the words, ddxpua vuxn- 
pope, 1147.— The dialogue between 
the Chorus and Agaue is at first an 
excited Kommos (1168-1199) chiefly 
in the dochmiac rhythm, but in 1200 ff. 
it becomes calmer and changes to the 
iambic trimeter. 

1168. dpo8vvers: an epic word, but 
found also in Aesch. Prom. 200. 

1169 ff. Plutarch in the Life of 
Crassus tells the following story 
touching this passage. After the con- 
sul in his expedition against the Par- 
thians had been defeated and slain, 
his head was cut off and sent to the 
Parthian king, Orodes. Peace had 
just been brought about between 
-Orodes and the king of Armenia, and 
at the banquets following, many of 
the Greek plays were recited, as both 


princes were conversant with Greek 
literature. In the midst of one of 
these entertainments, and while an 
actor was reciting from this play the 
parts relating to Agaue, the head of 
Crassus was thrown in. The actor 
immediately caught up the head, and 
assuming the frenzy of a bacchante, 
rendered these words, pépouey .. . O4- 
pay. This so pleased the listeners, 
that he went on till he came to the 
words, é€udy 7d yépas, when Promax- 
aithres, who had slain Crassus, sprang 
up and claimed that the head was his 
prize rather than the actor’s. 

1170. &Auka vedropov: by the fresh- 
cut twig Agaue means the head of Pen- 
theus, which takes the place of the 
ivy-wreath, as the ornament of the 
thyrsus. 

1174. dA€ovros tu: cf Aesch. Ag. 
717, pepev Adovros Tuy, also below, 
1196, Acovrodu7j. — obpiBdra (cf. 1141, 
épeorépov) may haye fallen out. 


106 EYPITIMAOY 
XOPOX. 
ld > , 
mobev épynwias; 
ATATH. 
Kibaipav 
XOPOX. 


ti KiBaipor ; 
ATAYTH. 
2 , 
KaTEpovevaev ViV. 
XOPO. 
tis & Baovoa mpora; 
ATAYH. 
; PE ‘ , 
€uov TO yepas. 
XOPO3. 
, es } 
1180 paxaip “Ayatn 
ATATH. 
Kylope? ev Aiacois. 
XOPO3. 
, ¥ 
tis adda; 
ATATH. 
Te Kddpov 
XOPOS. 
ti Kadpov; 
ATATH. 
yereBhra. Ahotth 
o 92% ae a Ag Ca ae 
per cue per ee Tovd 
»¥, , 
EOuye Onpds. 


1176. wdOev épnulas: sc. Zuapyas. “~ which the Schol. explains, rf Aéyeis 


1177. +i KiGorpav: Kithairon? Lit. 
Why say Kithairon? tis used thus 
when the word of another is repeated 
with surprise. Cf. Phoen. 1726, rf rads, 


tobro to tAds; cf. also Iph. A. 460, 
tt mapOévov, Alc. 807, rt (aay, and 
below 1181, rf Kddpou, 1184, rl weréxe. 

1181. ris ddA (fem.): sc. EBarev. 


BAKXAI, 


107 


XOPOS. 


3 by Ago » 
euTuxels TED aypa. 


ATATH. 


pérexé vuv Ooivas. 


ta Ms 


aed. *Avtirtpodt. 


XOPOS. 


, , , 
Tl pETEXW, TAApar ; 


ATATH. 


1185 véos 6 pooxos ap- 


, e 5 BGA -¢ , 
Te yeu v7r0 KopuO aahoTpixa. 


KataKonov Oaddeu. 


XOPOS. 


ampere y wote Ojp adypavros Poy. Aue Leg vx (i 


ATATH. 


e , , 

0 Baxywos Kuvayeras 
1190 

Tovoe Mauadas. 


copes copas avérnN emt Onpa 2-206 = le 


XOPOS. 


6 yap avat aypevs. 


ATATH. 


> lal 
EMTQALVELS 5 


XOPOS. 


4 3 > : lal 
TL ) 3 €TQALVO. 


ATAYTH. 


taxa S€ Kadpetou 


1185 ff. The whelp is young, and 
below the flowing huir of his head his 
cheeks are just blooming with soft down. 
The man and the beast are confused 
in Agaue’s disordered fancy. — yévuv 
drakdrpixa OddAer: lit. is blooming as 
to his downy cheek.— xépv0a: used 
figuratively of the hair of the head. 
— This passage is imitated by Accius, 


Bacch. Frg. vu. ei languo flora 
nune demum irrigat genas. 

1188. mpéme dore: he is like. Cf. 
Soph. El, 664, mpéme: &s TUpavvos eico- 
pav.— dBy: dat. of respect. 

1193. rl 8; érave: the Chorus 
reflect (rf 5¢) before expressing ap- 
proval. 

1194. KaSpetou: sc. éravécovrat 


108 


EYPUITAOY 


XOPOS. 


1195 Kal mats ye IevOeds parép’ 


ATATH. 


ETALVEC ETAL 


XOPOS. 


aBodoay aypav 


ATATH, 


Tavde eovtopun 


XOPOS. 


TEpLTo ay 


ATATH. 


TEPLT Tas. 


XOPOS. 


ayahrer; 4 ber fy 


ATAYH. 
4 
yey Ga 
peyada peydda Kat 
pavepa Tad€ ye 
XOPOX. 
KATELpyYao Leva. 
XOPO3. 


1200 detEdv vuv, @ Tddawa, anv viknddpov i 
adoToirw aypav jv hépovo’ edyhvOas.. dre as 


1195. kal wats «rA.: uttered in 
irony like xadbs &ydév, 1163. The 
Chorus in their revengefulness toward 
Pentheus seem to have no pity for 
the woe of his mother. 

1196. rdvSe Acovropuy : 
cav &ypar. 

1197. weprrody (%ypav), meprrods 
(AaBotcav): wondrous, in a wondrous 
way. Both words are understood in 


sc. AaBov- 


a sense different from that in which 
they are uttered. Agaue explains 
her meaning in zepioods in 1209. 

1199. davepd rade yd: in the sight 
of this land, i.e. famous throughout this 
land. — karapyacpeva: goes with the 
subj. of yéyn@a and governs peydAa 
kta. The Chorus take the word out 
of the mouth of Agaue. 


BAKXAI, 109 


ATATH. 
@ kadXirupyov doty OnBaias xGovds 
vatovtes, EOP ws iOnte THVS aypay, 
er ans Onpos hv trypeboraper 


1205 ovK Tous @cocar\av oToya Tparw, een 
ov Stee rw, ahv\a AevKomyXers 4 SOO 


Xetpav cepiaic.. Kata Kopmalew peirne toael 
Kat \oyyxorrouby Spyava KTacar ypeav 3 ~<4: 
Hpets Sé y adrn yxeupt Tovde & ethoper 
, gots ‘sae » , EM gs 

xopis Te y abépos apbpa Suehopyoaper. 4 iG 

“ ‘ : Sy , > , , / 
mov po. tatnp 6 mpéoBus; eOérw srédas. 
TlevOevs 7 Spas mais Tov ’oTw; aipécbw haBav 


1210 


THAT Ey Mpos olKovs KAyudKov tpocapBacets, 


@s war cahedoy KpaTa Tpiyhaxpous TOOE 
1215 éovtos bv Tdpeysr Onpdcac’ éyd. 


3s: dependent upon fv 


1208. adykvAnrois: said of javelins 
which were hurled with the ayxdAn. 
This was a leathern thong which, 
being wound round the javelin, was 
suddenly unwound at the moment 
the weapon was thrown. In this way 
there was added to the direct motion 
of the javelin a rotary motion about 
the longitudinal axis. See Guhl and 
Koner, Life of the Greeks and Romans. 
— GOeocorsy: cf. Hipp. 221, @cocardv 
épraxa, upon which the Schol. remarks, 
Ococaday yap cipnua Td Sédpv. 

1207. Kopratev parnv: boast with- 
out reason, i.e. over the vanquishing 
of beasts by arms, when Agaue has 
accomplished this with unaided 
hands. 

1209 f. ré, ré: both, and, as if the 
second clause were &p0pa te diepop7- 


cauey only, and airi xepl were joined 
with both clauses. — a8€pos: the spear- 
point. 

1212. alpécOw AaBwy: let him take 
and raise. altpecOa is used here in 
the sense of the active. Cf Xen. 
Hell. v1. 2, 29, aipduevos tovs iorods. 

1213. ayxrav: firm. — Kdipdxov 
mpocapBdcets: lit. steps of the ladders, 
i.e. ladders. Cf. Phoen, 489, rAiudewv 
mpooauBdcers, 1173, xAlwaxos mpocauBd- 
ces, Aesch. Theb. 466, xAtuaxos mpoo- 
apBdoets. 

1214. Of. Aesch. Ag. 578, cots 
Adgupa Taira Tois Kal ‘EAAdSa Sduors 
énacodAcvoay apxaiov ydvos. 

1216-1329. Kadmos enters, fol- 
lowed by attendants who bear upon 
a bier the fragments of Pentheus’s 
body. Then follows the anagnorisis, 
the recognition leading to the denoue- 
ment, 


110 


EYPITMIAOY 


KAAMOZ. 


érec OE pou hépovtes aOALov Bapos 


TevOéws, erecbe, mpdamodor, Sdpwv mapos, 
od capa pdoyOwv pupious CyTtjpacr 
dépw 768 edvpav ev KiPaipovos mrvxais 


1220 


SvacTrapaKror, Kovoe €v TAavT@ TreESw 


haBav, €v vy Keipevov duceupeTo. 
nkovoa yap tov Ovyatépwv Tohuyjpara, 
» ; 9 , ¥ \ 

on Kar aoTu Teixyéov Eow BeBas 

ovv TO yEpovTt Terpecia Baxxav 7apa* 


1225 


madw S€ Kdprbas eis Opos ropilowad Chry antes 


Tov KatOavovra maida Mawddwv vio. 


kat Thy pev “Axtraiwy’ ’Apiotai@ more 
lal > / > en 9 
Texovaav eloov Avtovdony “Ivdé PF aya 


er audit Spypois oiotpomdnyas aOXias, 


1230 


my 8 elré tis por Sedpo Baxxenp Toot 
orelyew Ayatyy, ove” dcpavt’ HKovorapen® sf Mid , 


hevoow yap avTyv, dw ovK eddaiwova. 


4 
4p 


a 


ATAYTH. 


, } 
TATEp, PeyvoTOV KouTrAcaL mapeoTi ToL, 


1216. d@dAvow Bdapos: cf Soph. Zi. 
1140, where Electra uses the same 
expression of the ashes of Orestes. 

1218. pox8wv prplos {yrjpact: 
with many a weary search, The gen. 
expresses quality. Cf. Iph. A. 1230, 
névev TiOnvors &rod:d0t0a Tpopds, Aesch, 
Prom. 900, dvorAdvois dAarelas réver, 
Soph, El. 19, nérawa torpwv edppdvn. 

1221. Wecklein regards the line 
as added, unnecessarily, to supplement 
ovdty évy tait@ mwéd~. Most editors, 
however, retain it. — Svcevpér@: hard 
to find the way through, impenetrable. 
Others explain it, in which a thing is 


hard to find. Tither interpretation is 
forced. Reiske suggests dvcedperov 
referring to c@ua. 

1227 f. Cf. 229 f. 

1229. d@Alas: expressing the feel- 
ing awakened by the sight of the 
oiaTpomAnyas. 

1230. Baxxelm mo8l: i.e. with the 
frenzied step of the Bacchic reveler. 

1232. dw: see on 9 Cf Or. 
725, «icopd tévde plararoy Bporay 
orelxovra, idciav dye. 

1233. péyrorov: equiv. to uéyioroy 
xdumov. Cf. the expressions péya, © 
and peydAa Aéyew, ppoveiv, ete, 


BAKXAT. 


111 


And A 


tri 


TaVvT@V dpiotas Ouyarépas ondipat paxpe Ay 
1235 Onyree: amTaoas €or, fds & eye, Prec‘ 
Tas Tap totots éxdurovca Kepkidas 
eis petlov nw, Onpas dypevew yepoiv. 
> > > > 4 e ec “ 4 
pépw S & @dévaow, ws opas, TAOE 
haBotoa Tapioreta, soto. mpds Sdpmous 
1240 ws av KpewacOy: od Sé wdrep dSéEau YEpowv: 
yaupovpevos S€é Tois wots aypevpace 
4 7 > Lal 's ‘\ > 
Kader didous eis Satta: paxdpws yap «i, 
paKdpis, Hav todd efeipyacpévar. 


KAAMOS. 


@® T&Oos od perpnTov odd oidv 7 idety, 


1245 dhovov Tahaivais xepolv eLeipyacpévor. 


Kahov To Odpa KataBarodvoa Saipoow 5 x+r/ 


emt daira OnBas tdécde Kaye Tapaxaneis. 


¥ lal A A A nw 
OLLOL KQAK@V [LEV TPoTa Oor, €TELT ELOv * 


e ¢ ‘ ¢ a > , f > > »¥ 
@s 6 Oeds Hpas evdixws pév, GX’ ayav 
1250 Bpdpuos ava dmddeo’ oixelos yeyds. 20/4. 


ha ae, © 


ATATH. 


as dvaKohov To yhpas avOparous eu 


evr oppace oxvbpurrov. 


eiOe mats eos 6.4 


‘ \ 
wm. Hh “« bOnpos ein, LeNTpos eixac eis Tporrois, 
or ev veaviator OnBaios apa 


1255 Onpar 6 Spuyver’. 
1245. apyacpévan sc. Spar, the 


const. and in part the words of 
12438, being repeated to set the real 
deed in strong contrast with the sup- 
posed deed; since it is murder (and 
not the deed you fancy) that you have 
wrought. The subj. of the partic. is 
often omitted when the context sug- 
gests it. H.972a; G. 278, N. 


GAG Oeopayety povov 


1248. kakav péev mpara cov: in- 
stead of the usual order, kaxév pata 
Mev cov. 

1254. év,dya: for the redundancy, 
cf. Ion, 717, ne &ua ody Baérxaus. 

1255. dptyvero: the mode is as- 
similated to that of the leading verb. 
H. 919 a; G. 235, 1, 


112 


a? 5 5 “ 
olds T €KELWOS. 
cwovoTiv. 


EYPITIAOY 


voulerntéos, marep, 
/ a. -% 8 a > KR »¥ > ERE 
Tis auTOV Oeuvp av ow Els EUNV 


4, e aA \ > / 
Kahéverev, @S LON pe THY Evdaipova. ; 


KAAMO32. 


a 


hed ped: ppovyoacar pev ot edpdcare, 


1260 


adynoer adyos Sewov: ei dé Sia_tédous 


> AQ? aN aA 3.9 & , 
€V TOO Qel PEVELT gag WwW kabéorare, 
<- — a anh. emetmneesereani 





> > a / > > ‘\ ~ “ 
ovK evtvyovca. Oder’ ovyi Sucrvyelv. 


ATATH. 


_tt 8 ov Kahds Tavd 7 Ti uTypas ExeL; 


KAAMO3S. 


lal . > , > ay) 3. # ‘ , 
TPWTOV [EV ELS TOVvO aifép’ dupa oov pébes. 


ATATH. 


1265 


> , i 4 > 3 nw 5 A he 
idov- 7 pou rovd éfumetras eivopav; sug4iuet 


KAAMO3S. 


ef avrds 4 vou peraBodas eyew Sox; 


ATATH. 


, x \ \ , 
Aapirporepos 7] T pw KQU Sumeréorepos. 


KAAMO32. 


\ 4 N sQ> a a , 
TO dé ron bev 768 €Tl on Wuyn TAPa ; 


1257 f. woverlv: col éorw. — ths 
ay kadécevev: equiv. to a wish. Sim- 
ilarly ras &y is often used. Cf Med. 
97, m&s by ddoluav; Hipp. 345, ras by 
ob po Adgeras; H. 870 e. 

: 1263. The question shows that 
Agaue’s reason is already beginning 
to return, 


1264 ff. Kadmos seeks first of all 
to fix the wandering senses of Agaue, 
and then by awakening her memory 
to bring her gradually to full con- 
sciousness. 

1265. tov: see on 198. 

1267. Sumeréorepos: 


diavyéorepos 
(Etym, Magn.), clearer, 


BAKXAI. 


118 


ATATH. 


> > ¥ A 7 5é 
OvK olda TOUTS TOUTO, yiyvouar Sé Tas 
¥ A a , an 
1270 evvouvs petactabeioa Tav mdpos ppevar. 


KAAMO32. 


Khvous Gv ov TL KatoKpivar av cadas; 


ATATH. 


e > , , > A 4 ¥ 4 
@s exhé\nopat y & Tdpos ElTomer, TaTEp. 


KAAMO3S. 


> Lal 9 > e , 2 
eis motov OES oikov dpevaiwy peta; 


ATATH. 


Seu . He 


omapTo wb eowkas, ws Aeyouo, Eyiovt 
‘TAPTe B S; S 2 > xX . 


KAAMOS. 


, : ae ¥ aires Bey a , 
1275 TiS OVV EV OLKOLS TALS EVEVETO O@ TOGEL; 


ATATH. 


, 5 “~ A . , 
TlevOevs, Eun Te Kal twarpds Kowwvia. 


KAAMOS. 


> 4 p 
Ain See 


4 , Pi Sine D > ta ¥ 
tivos mpdcwmov Snr év dykddais Exes; 


ATATH. 


Novos, as y’ efacKov ai Onpadpeva. 


1269 f. If the interruption of the 
stichomythia is not due to the inter- 
polator, it may be designed to mark 
more vividly the gradual return of 
Agaue’s reason. But see App. 

1272. ds, yé: yes, for, with refer- 
ence to capas.—In saying that she 
has forgotten her former words, Agaue 
expresses her consciousness that her 
former state is passing away; at the 


same time the vagueness of her an- 
swer shows that her self-possession is 
not yet complete. 

1273. tpevatev péra: cf. 380, werd 
avaAod. 

1274. omapre: see on 264,— ds 
A€youet: with orapr@. 

1276. warpds: his father. — kowo- 
vig: intercourse. 

1278. In the preceding conversa- 


114 EYPITTAOY 
KAAMO3. 
“ ‘ 
oKepar vuv dp0as, Bpaxds 6 pdoyOos ciodelv. 
ATAYH. 
1280 €a, Ti Levoow; Ti dépomar 75d ev xeEpoww; 
po Mn, eAAen 
»¥ o.-S + ‘ , la 
abpnoov ats Kat cadhéotepov pdde. 
ATAYH. 
e a , ¥ e , 3 > - 
Op@® péyvatov ahyos n Tddaw’ eyo. 
KAAMO3. 
nw 4 7 , 
pav oor éovt. haiverar tpoceKéva; 
ATAYH. 
ov: adda TlevOéws 4 Tdédaw’ Exw Kdpa. 
KAAMO3. 
Lif. paed, 
f , 4, x \ ? 
1285 ypwayynévov ye tpdcba 7 ce yrwpioa.. 


ATATH. 


pe ¥ 2 A Br 1) > , 
tis extavév vi; Tas Eas HOEY xéEpas; 


KAAMOS. 


, 3 > la > c 5 > a , 
Svornv adn ber’, @S €V OU KaLP@ TO Pel. 


ATATH. / 


Aan. 
héy’, ws TO péddov Kapdia aiSnfe EXEL. 


tion Agaue has forgotten the object 
in her hands, and answers here with- 
out looking at it. 
1280. €popar: upon the voice, cf. 
Cyel. 87, dup 8 abyéor redxn pépovrat. 
1285. mpdobev 7: see on 747. 
1286. éuds 7ASev xépas: upon the 
ace. cf. Heracl. 931, xeipas léec Oa weer. 


1287. ds... mdper: the moment 
of Agaue’s first shock of horror at 
beholding the head of her son is no 
fitting time to tell her of her part in 
his death. —év od katp@: equiv. to 
dxalpws. See on 395. 

1288. rd péAdov: what is coming, 
i.e. “what I must hear.” The ace. is 


BAKXAT. 


115 


KAAMOS. 


, 
ov vw Katéxtas Kal Kaciyvytar oéber. 


ATATH. 


~ x , , 
1290 mov 8 wer; 7 Kar olKov; 4% Tolows Toros; 


KAAMO2. 


obmep Tp "Axraiwva d1éaxov KUVES. 


ATATH. 


ti & eis KiOaipav’ 


is YW 
AnttK ey 


> , \ , 
exeptoper Oegv ods 


HrVe Svadaipwv de; 


KAAMOZ. 


te Baxyelas poo. 


ATATH. 


npets 8 exetoe tive TpdT@ KaTHpaper ; 


KAAMOZ2. 


1295 


éudvyte, Tacd tT e&eBaxyevOn drs. 


ATATH. 


, e lal » > + , 
Avdvucos nas @deo, apte pavOdve. 


KAAMOS. 


UBpw y vBpicbecis: Ocdv yap ovx HyetoBE vw. 


governed by the trans. phrase rhdnw 
éxe. H. 713. 

1291. SéAaxov: the same as dieomd- 
cayto, 339. 

1293. éxeproper xrA.: these words 
do not form an appropriate answer to 
the question; and, further, it is diffi- 
cult to account for Agaue’s question 
in 1301 after the statement here 
made. Perhaps éxeprdéue: has dis- 


placed katackore?y or xardoxomos. Cf. 
916, 956, 981. For the const. #AGe 
katackomeiy, he went to spy out, ef. 
Med. 1303, HaAOov exodoa, Iph. A. 
678, xéper dpOjva, Soph. O. C. 12, 
pavOdvew hroper. 

1295. é&eBaxxevbn: in the same 
sense as éféunva, 36. 

1297. tBpw: see on 247. 


116 


EYPINIAOY 


ATATH. 


70 idrratov S¢ capa rod rads, TarTEp ; 


KAAMO3. 


, 


éy® pods 768 eLepevvycas pépo. 


ATATH. 


1300 


h wav é€v apOpos ovyKex\npévov Kaas; 


KAAMO3S. 


* * * * 


* * * 


ATATH. 


TlevOet 5é€ ri pépos adpoovvns mpoonk’ Euns; 


fi 


KAAMO3S. 


bp eyevel” Spows, ov o<Baw Oedv. 


Tovyap curnwe mdavras eis play BdaByp, 


ees 


bpas te TOvde F, wate Siotécar Sdpovs 


1305 


y 3 9¢ » ¥ ‘S 5 
KQLL, OOTLS ATEKVOS Aapoevav TALOMV YEYos 


Ts ons Td Epvos, ® Tarawa, vyndvos 


¥ A , -. c nw 
aioxioTa Kal Kakiota KatOavev? dpa, 


@ Sap avéBred’, ds auveiyes, & Tékvor, 


> ‘ , XX > > ee , 
Tovpov péhabpov, maidds &€ euns yeyos, 
1310 moder Te TaPBos Hoa: Tov yépovra dé 


Olt bp ert te 


1300. 4 wav KrA.: sc. éénpedynoas.— 
év...kada@s: lit. well compact in re- 
spect to the parts, i.e. with the parts un- 
severed. Agaue has some foreboding 
of the real state of the case. The 
answer of Kadmos must have been 
somewhat as follows: oti, AAG xwpls 
év métpais eomapuevor. 

1305. drexvos dporévwv mwalSwv: cf. 
Hat. 1. 109, &tats prevos ydvov, Soph. 
O. C. 677, dvhvewov mévtwv xetmdvwv.— 


In Phoen. 7, Euripides follows the 
common legend in making Kadmos 
the father of Polydoros. 

1306 f. pvos kar@avdvrTa: construc- 
tioad sensum. H. 683; G. 1388, n. 4. 

1308.  avéBdewe: for the dat. cf — 
Ton, 1467, deAtov avaBAdre: Aaprdow. — 
és ovvetxes: in his grief Kadmos 
breaks out into direct address to Pen- 
theus. Upon ovréxw, cf. 392. 


BAKXAIT. 


117 


ovdels UBpilew Oecd’ cicopav Td odv 


¥E44-4 


Kaipo.” Stieyy yap afiav Adu Paves. 
vov & &k Scam a dryios éxBeBh 


Aromas 


6 Kddpos 6 péyas, 0s 70 OnBatwv yévos 

prep kaénpnoa Kdducrov Pépos.. Cerra liaee Sie. 
@ didrtar dvdpov—kKat yap ovKér dv cpws 
A , ~ > > , Y 

TOV gerarov guory apiOunoe, tTéKvov— 

ovKETL yeveiou TOVOE Ovyydvew X¢pi, 

Tov payTpos avdav mast épa. moonrise, TEKVOD, 

héywv: tis ddixet, Tis o atydle, yépov; 


, ‘ , , ‘ + 
tis onv Tapdooe Kapdiay AvTNpds OV; 
héy’, ws Kodtdlw Tov adikowTd o, @ TaTEp. 


vov & aOdwos pe ci’ eyod, thypwv S€ ov, 


oixrpa Sé pyrnp, TAjpoves 5€ ovyyovo.. 


> > »¥ 9 / € “A 
ei 8 eoTw doris Saydvev trephpovel, 


eis TOUS GOpyaas Odvarov yycicOw Oeoys. 


4 


XOPOS. 


TO Dad gov aya, Kddpe- ads & exe Sieqy 
mats mauos akiav pev, adyewnv S€é coi. 


ATATH. 


> , ea ‘ Ge Las 4 , 
@ matTep, opds yap Tay’ dow peTertpady “-. 


* * * * 


1312. éddpBaves: the hypothetical 
indice. H. 895, note; G. 226,2. The 
omission of &y emphasizes the cer- 
tainty of the conclusion. Cf Soph. 
El. 914, ore dpa0’ érdvOavev. Kr. Spr. 
54, 10, 1. 

1317. dpWprjore: see on 588. 

1319. tév pyrpds mwarépa: see on 
725. 

1323 f. d@dros, rArjpov, olktpd, TAx- 
poves: an anaphora in which synonyms 
are used instead of the same word 


x * x x 


repeated. Cf. Soph. Ant. 898, pian 
bev ttew matpl, mpoopirys dé col, uF- 
Tep, pian dt col, kaclyyntov Kdpa. 

1327. ods: instead of ofs. 
on Borpuddn, 534. 

1329. Between this line and 1331, 
which follows immediately in the 
Ms., there is alacuna covering Agaue’s 
lament and the beginning of Diony- 
sos’s speech. The omission is proba- 
bly due to the loss of an entire leaf 
of the earlier Ms. Concerning the 


See 


, 
A SUMW 


118 EYPITIAOY 


AIONTZO2. 


* * * 


* * / * * 


* 
1330 Spdkwv yervnoe peraBadar, Sduap TE OY, 
1332 qv "Apeos €oryes ‘Appopiav, Ovnrds yeyds, 
1331 ekOnpimbeto’ dpeos adAaEeu TUTOV. vin age 
dxyov Sé pdcxar, ypnopds ds éyer Adds, 
elds per’ addxov, BapBdpwv yyovpevos. 
1335 modAas de méprens avapiOum orparedpare 


general purport of Agaue’s speech, 
we obtain information from two pas- 
sages in the Rhetor, Apsines: mapa 
T@ Evpimldy tod MevOdws % ufitnp Ayatn 


_GmadAayeioa THs pavlas Kal yrwploaca 


Toy maida Toy éavTs dieomacpévoy KaTn- 
yopet uty adrijs (Walz Rhet. Gr. rx. 
p- 587), and éxacroy yap adrod ray 
MeA@Y 7 phTnp ev Tais xepol KpaTodca 
Kal Exacroy abtay oixtiCera (ibid. p. 
590). <A portion of Agaue’s speech, 
therefore, consisted of her self-re- 
proach, and her lamentation over the 
body of Pentheus as she takes the 
torn parts in her hands. 1330 is re- 
covered from the Schol. on Dion. P. 
391, who cites it in connection with 
1331. For the restoration of some 
of the omitted verses, see App. 
1330 ff. Dionysos, now in his char- 
acter as a god, appears above, upon 
the @coAoyeiov, and announces to Kad- 
mos and his wife, Harmonia, their 
destiny. Euripides is forfl of intro- 
ducing at the end of his plays prophe- 
cies, sometimes based upon later and 
obscure legends, which follow out the 
fortunes of his characters beyond the 
events immediately connected with 
the play. In this case the predictions 
are apparently designed to show to 
Kadmos the continuing misfortune 
brought upon his whole family, and 
at the same time the alleviation the 


gods have in store for him, Euripi- 
des follows, at least in part, the form 
of the legend which has been pre- 
served by Apollod. (1. 5, 4). Ac- 
cording to this form of the legend, 
Kadmos and Harmonia left Thebes 
and came to the Encheleis. And 
when these were attacked in war by 
the Illyrians, the oracle declared that 
they would conquer, if they should 
have Kadmos and Harmonia as their 
leaders. The Encheleis, therefore, 
made these their leaders, and came 
off the victors. Kadmos then be- 
came king of the Illyrians, and there 
was born to hima son, Illyrios. Later 
Kadmos and Harmonia were both 
changed into dragons, and sent away 
by Zeus to Elysium. 

1331. éxOnprwbetoa: turned to a 
beast. Cf. Supp. 703, e&nvipwpévos, 
Aesch. Cho. 549, éxdpaxovrwOels. 

1332. av...‘Appovlay: cf. Apollod. 
111. 4, 2, Zebs 8 F5wkev abrgG (Kadmos) 
yuvaira ‘Apuovlay, "Appodirns kal ”Apeos 
Ovyarépa. 

1333. dxov péocxov: the Etym. 
Magn. under the word Bov@déy pre- 
serves the legend, that Kadmos came 
from Thebes into Illyria upon a char- 
iot drawn by oxen. But BapBdpwy 
jyyobpevos would seem to connect the 
journey here mentioned with some 
later expedition at the head of a bar- 


-" 


BAKXAT, 


119 


modes: Otay S€ Aokiov xpyotypioy mx+/ 


fr / ¥ , 
Svaprdcwot, vootov aP\wov dd 
, x Ss ¥ ec , e7 ! 
oXNnTOVTL’ GE Apns Appoviay Te pvoetat ee. 


ta > > > ‘ 4 7 
paxdpev 7 és alay cov Kalidpicea Biov, 


1340 


n> 3% a \ > \ , 
TAaUT OVUXl Ovnrov TATPOS EKYEYWS héyw 


Avdvucos, adda Znvds: ci 5€ cwdpovety 
¥ 7 3 > > , \ ‘ / 
eyvol’, or ovK nOédeTe, TOV Aws yovov 
evoaovoir Gv cvppaxov KEKTHPLEVOL. 


ATATH. 


Avvuae, \ucadpecOd o°, HdiKyKaper. 


AIONTSO&. 


iat: 


1345 


Oo eudbe? yas, ore Sé ypHy, odk HOere. 


ATATH. 


eyvoxape tad: ad émeéepyer Mav. “>? 


AIONTSO&. 


Kal yap mpos tyav Beds yeyas bBpilounr. 


ATATH. 


> A i4 ‘ > e A “ 
épyas mpérer Oeods ody dpowovcbar Bporois. 


AIONTSO%. 


mada. Tad€ Zeds ovpos 


barian force; perhaps that against 
the Illyrians (see on 1330), or perhaps 
the combined expedition of the Illy- 
rians and Encheleis against Thebes 
(see on 1336). The latter reference 
is favored by the following lines, and 
by jyotpevos Adyxaiow, 1360, which 
appears to answer to BapBdpwy jyol- 
pevos of this passage. 

1336. Herodotus (1x. 42) speaks 
of an oracle which foretold destruc- 


On furtern 
> ES OIE et 
eTevevoey TATHP. A OF es 


tion to the Illyrians and Encheleis in 
consequence of the plundering of the 
shrine at Delphi. The connection of 
Kadmos with this expedition seems 
to be an invention of Euripides. 

1343. evSaipovotre: the opt. repre- 
sents the conclusion, not asa certainty, 
but as a possibility. H. 901; G. 227, 
1; GMT. 54, 1. 

1345. Sere: arare form. H. 491 
a; G. 127, vir. N. 


NN 


120 


. (nA pteterlLyevl 


EYPITIAOY 


ATATH. 


1350 aiat, Sédoxrar, tpéoBv, trAjpoves pvyat. 


AIONTSO& 


ti Onra pedreP amep avayKaiws exe; 


KAAMO3. 


> , e > \ ¥ , 
@ TEKVOV, WS ELS Sewov nrOopev KQKOY, 


/ > e / I 4 ¢ / 
at F y tdhawa cvyyovot & sudoropor 


eyd & 6 trjpwv BapBdpovs adi~ouar 


1355 


yépwv pérouxos: er. O€ povoti Héadarov 
eis “EMAAS” ayayety prydda BdpBapov orpardv. “<4 


kal THY "Apews matd “Appoviay Sdpapr éunvy 
Spdxav Spaxaivns ayn exovoav aypias 4erw 
d&w éni Bopods Kal rddous “EAAnvucods, — 


1360 


e 4 , > A 4 
nyovpevos Aéyxarow* ovd€ Tavoopat 
nw e , > Qa ‘\ , 
KAKO@V O TANMOY, ovoe TOV KataBarnv 
"Axépovta mhevoas Novyos ‘yevnoopar 


‘a z 13.3 9. 


ATATH. 
@® mdrep, eyw S€ cod orepeioa Pevfouar 


KAAMO2. 


Tip apdiBddrEs xepoiv, ® Tdawa tat, 


1349. rade: 7c. the punishment. — 
Zevs érévevorev : the punishment is not 
a mere act of personal revenge upon 
the part of Dionysos. The fault of 
Pentheus had touched even the su- 
preme god himself (¢f. 518). 

1350. 8€Soxrat pvyal : in this const. 
of a sing. verb with a pl. subj., the 
so-called oxjua Mivdapudv, the verb 
stands first, and the subj. is at first 
thought of indeterminately, but after- 
wards made specific by the substan- 
tive. H. 605; G. 135, n. 5. 


1354. As the text stands, the const. . 
is anacoluthic. The regular construc- 
tion would be, eyé © 6 tAhmwr, ds 
aplierat. 

1360. ryovpevos Adyxaurw: see om 
52. 

1361 f. Kkara.Barnv: descending. 
Cf. Hom. Od. v. 185, xare:Bduevoy 


Srvyds bap. — ovbe HovxXos yevjropan : 


.—’Axépovra 
mrevoas: see on 307. 


BAKXAT. 
VU fr C2 


121 


1365 Opyw omws Kndyva ToduWypwrv KUKVO? ; 


ATATH. 


Tot yap tpamapar twarpidos éxBeBdnuevn; 


KAAMO3S. y, 
ee 
> 75 r \ ee ¢ , 
OUVK OLOa, TEKVOV* PtKpos EMlLKOUPOS TATYp. 
ATATH. 


xaip, @ pédabpov, yxatp’, ® tarpia 
, 5 4 > L ee! , 
mods: €kheitw o emt dvotvyia 


1370 dvyas éx Jaddpor. 


KAAMOS. 


a S a X > , 
OTELXE VUV, W Tal, TOV ApLioTatov 


# # * x * # 
ATAYH. 
, 
oTevopat oe, TATEp. 
KAAMO3. 


5) a , 4 
Kaya o€, Tékvor, 
Kal oas eOdKpvoa KacLyyyTas. 


1365. épvw Kkvxvov: see on 1026. 
—«yoqva: helpless, worn-out. Cf. Tro. 
191, mod wa yatas dovActcw pais, ws 
xnphv.— Wecklein explains the com- 
parison as referring to the white hair 
of Kadmos. Cf. Ar. Vesp. 1064, xv- 
Kvov T €rt moALmTepat 5} al® eravOodow 
tplxes. Others explain it of the re- 
markable affection for its parent at- 
tributed to the swan. Cf. El. 151, 
where Electra laments for her father, 
ofa tis Kixvos &xéras motapulois mapa 
xetuacw narépa plataroy Karel. 

1366. ydp: introducing the ground 
of the despair manifested. 


1369. él Svorux fq: equiv. to Svorv- 


xotca. Cf. Soph. El. 108, er) nwxuvrg, 
i.e. Kwkvoved. 

1371. rov ’Apioratov: the rest of 
the sentence is lost. Kadmos may 
have bidden Agaue to flee from Kith- 
airon (cf. 1384) where Aktaion, the 
son of Aristaios, met his death, or he 
may have bidden her to go to the 
house of Aristaios, who was her 
brother-in-law. 

1372. orévowo.: with the sense of 
the active. Cf Aesch. Theb. 872, raalw, 
orévouat, Id. Pers. 61, obs wép mica 
x9av oréverat, Med. 996, netarrévopat 
ody &Avos. 

1373. @dxpvea: the aor. marks 


122 EYPINIAOY 


ATATH. 


Sewds yap tdv8 aixiay 4</-© 


1375 Audvucos avaé 


ofl cata — Lilien 


% ‘ > ¥ »” 
TOUS ous Els OlKOUS EpeEpeEV. 


KAAMO3S. 


‘ ‘ ¥ ‘ X e A 
kal yap eracxyey Sewa pds tudar, 
> , / ¥ ¥ o,. 25 / 
ayépactov Exwv ovom e€v OnBass. 


AA Leo ser 


ATATH. 


Xatpe, TaTEp [OL 


KAAMO®. 


xatp’, @ peéa 
1380 Ovyarep. yadreras & eis 768° Gv jKors. 


ATATH. 


ayer @ Toumot pe, KacvyyyTas 
iva ovuppvyddas Ay Woue” oixrpds. 


EMMouyu 8 Srrov 


pyre Kibaipav [p’ évidor| prapds, kitted wth Mor 


1385 pyte KiBaipav’ oocouow eyo, 


BHP 60. Ovpoov prnpy avdKeurar: 


Bdkyais 8 addavor pédovev. 


the action as having begun just be- 
fore the moment of speaking, where 
the Eng. uses the present. H. 842; 
GMT. 19, n. 5. 


1374 ff. The metre may be restored 
by reading Ge Kr airlay ss. 
Tovs govs, marep, cis olkous %pepev.— 


alklay: although Agaue in 1346 has 
complained of the severity” of the 
pitiohtsin; yet, after such a warning 
against all impiety toward the god, 
and after hérewn admission of wrong 


in 1344, we are~hardly prepared to 
hearer charge the Zod with aXemi= 


— 
. 


Wewmtraye, The difficulty isdoubtless 
due-to.a faulty text. 

1380. rode: ic. 7d xalpew, to fure 
well. For a similar repetition of the 
verb in its original meaning, ef. H. F. 
427, Aesch. Ag. 538. 

1382. tva: drov. 

1384. pw éolSor: fills out the lacuna 
according to the sense. For the opt., 
see on 1255. The const. changes to 
the indic. in avdxerra: (1886), because 
the reference is to something which 
is thought of as real and independent 
of the wish. 


BAKXAI. 


123 


[XOPOS. 


moddal popdat tov Satpoviwr, 


wo\\a 


\ \ 
KaL TA 


1390 
Tav © 

, 5 

TOLOVO 


1387. péAovev: sc. Kithairon and 
the thyrsus, the place and the instru- 
ment of the Bacchic rites. 

1388 ff. These lines, which are less 
appropriate here, are found with a 


> GéedatHs Kpatvovot Oeois 4r.4 G 


Poanes 


A 


Soxnbev7’ obk érehéo On, 
adokyTwv mopov nope Oeds. 
aréBn 76de rpaypa. | 


slight variation at the end of four 
other plays, Alcestis, Andromache, 
Helen, and Medea. ‘The actors prob- 
ably transferred such endings from 
one play to another. 


124 METRES OF THE LYRICAL PARTS. 


METRES OF THE LYRICAL PARTS. 


The principal metres in the lyrical parts of the play are as fol- 
lows : — 


1. Locaogepic: H. 1108 ff.; G. 299 f.; S. 13. 


2. Ionic: H. 1121 ff.; G. 801, 2; S. 8, VI., 10, V., 23, 2. 
With the Ionic are sometimes combined Choriambic or Loga- 
oedic verses in the same strophe. 


8. Documiac: H. 1125 ff.; G. 302; S. 23, 4. 

Of the other rhythms which are sometimes joined with the 
Dochmiac, in the same verse or in the same strophe, the follow- 
ing are found in this play: Cretic (H. 1119; G. 301, 3; S. 8, IX.), 
Iambic, Bacchic (H. 1127; G.301,4; S. 8, X.), and Logaoedic. 

In the following schemes, : is the mark of anacrusis; @ indi- 
cates two half-shorts ( a) =U, 

In the case of the Ionic and Dochmiac verses, it will be observed 
that the bar, or the mark :, which indicates the beginning of a 
measure as adapted to the modern theory of music (¢.e., that the 
first syllable or note of every measure must have an ictus), does 
not stand at the beginning of the Soot ; thus, Ionic vu wie as 
Dochmiac v | ~~ vu | +. 


PARODOS (64-169). 
First Stropue (64-67 = 68-71). 


Tonic. 
64, 68 wot pie Me ae a ee ce H. 1123 a; G. 286, 2. 
CY Gea teed Pears Yara e Cees 
i witht SG) =: ease beg, synizesis, 


ate Fh ae NI a, ca A 


72, 88 


75, 91 


80, 96 


85, 101 


~ 105, 120 


110, 125 


115, 130 


METRES OF THE LYRICAL PARTS. 125 
Seconp StropHE (72-87 = 88-104). 
Logaoedic (72-77, 87) and Ionic (78-86). 
wer es £ ese Bo H. 1110 ce. 
Or ery tet Pe 
OTe cee th 2 oS i 
srt au ki > |, 
ere ee fr 
ry EE Ce Wee 
eee oo ee es Ts 
NCA Sesh het pe f= 
eee eee ee RNA bee 
EW as A fae 
OS Bie Sa Oe a ee le We eT 
eg Cee el eo a eee eee 


‘Turd StropHe (105-119 = 120-134). 


Logaoedic. 

PE ES cogs OW Otee 

erase fan PH wR iS 
tect are le Pte) ho 

soar fae | ey Pe 

SU | omen, VS | ie Vs ; 
O3iero Peru liy eu | =  év, synizesis. 

nah 1 Tee RE en an Fee 

ae bm fe Paeer PE PS 
w Co fate. Fe hee Pee 

vuvulwyu |lwele 

su lows Iw |e 

a oe Oe ae (ea 
U GA ar Eee, PS 

sh my ae 


126 


135 


140 


145 


150 


155 


160 


165 


METRES OF THE LYRICAL PARTS. 


Epope (135-169). 


Logaocedic. 
wu |] —v BG bine 


cata Letig wad Gas Fe 
vuvwl awl] a> fo. H. 1110 ce. 


Sapa d hel ei] iy Fe 

ta es Gir eel fea a 

wu lowell wu |lu>!] . wore 
—~vtyuvy|l 2o lt wv fou Page 
ti aE oth ne 

vo Pre DO ie 

ee TN eh ae heme, © ee | 

ie, Ape ey co Dee 
ES hk ae Oe ey 

ivy | LL lsu ois 


www cs Tred ee a - 


we wv (osm dee 

was ae) nee e hist 

an re Gea Te as be 
wvwulwesel uv fle 
tyuvvul LU luvulwulilwyl 


pyvudo 4 fiw 


vi 


woe ag fay l 42 Ee 
duo hit fs 
vulwulwulwoul 


st wage | 2 jer ae 


METRES OF THE LYRICAL PARTS. 127 


FIRST STASIMON (370-433). 
First StropHe (370-385 = 386-391). 


Tonic (370-375, 379-383) and Choriambic (376-378, 384 f.). 
370, 386 


“gy eee AS a ga 
GAPS i ae NY ES 3 
RARE et OT Go 
Ohad = ae A TS 
eee Ur SU Ut 
See ee ee ee Or I 
Se ehh th ee es a | 
aU tale | 
GP MAt oe ee te 
380, 396 hee ce OF te 
rs a Us a be 
Rp tho en Wht as ak ed, Sa 
wee wr Lbs 
Se a Bae Re So ge ey 
385, 401 we et a lar hl fw Wee 


with logaoedic close. 


Srconp StrropHe (402-415 = 416-433). 


Logaoedic. 
402, 416 cist baw be a ee FE 
Ate gel ae Tas mec 
wae tee Yh 
405, 420 ame 1 ena ES PS 
et Be eS ae eeeaeny & gin) ied 
ae aay ft Sor fo 
—> |lwrv] ho 
o> [mes YY Snre PS H. 1110 a. 
410, 425 Ov aleaoe Ff ras PY H. 1110 b. 
SP Sea Pr Ge 
uw tiauew Poe lauewltuvuye|] 
Weta ae OS Ye eee pee 
415, 433 VU Wy | fe J ~vu | eV Pt bee 


128 


537 
519 
520, 539 


525, 644 


530, 549 


535, 554 


556 


560 


METRES OF THE LYRICAL PARTS. 


SECOND STASIMON (519-575). 
StropHeE (519-536 = 537-555). 


C 
c | 


C.Sam GS ©4800 O Cote Coe 


C Cnc C4 © € Cee 


C 
C 


Ye SA A Lt Ce 
Coere See SCC’ Crate 


vY 


VY 


Tonic. 


POS Oe ba a 
ree ee Na 
eager, OP en pre Ores 
Bc xieaee AIAG Deo cae 
S uM A 
FSG Se a] WA Rs 
Boe A GEE Se 


peers, Re eh ty at ee 
er hb io ee 
a ay ats Vek 
ge aka SI eee 


pi. AA RD Ayers 
ae ek Yee Gee 
ES POOR ei Yea eae 
Sr ny RA ea eee 
Seed cin NU SK Lceth mae 
SMAPS ER) OF WS pee 
paper Fag t 4) ae, 
eee ML nee mee, wee ef, 


EpopE’ (556-575). 


a bing te 1 No a" 
eee Se pele 
Ss ber ry A as 
Sas ee SO AD, aoe 
ergy oh ee 
en eS, ei 
Frac juss Wak NaC satis See 
Sie, MPA A eee 
Biases eet A Ne 
SR hat'hl BAS scale 
Sl ee ides 
Ft | as 
ee yee 


H. 1123 b. 


H. 1121 a; G. 301, 2. 


H. 1121 a; G. 301, 2. 


Tonic (556-570) and Logaoedic (571 ff.). 


Seed ce MY Be 


570 


575 


576 


585 


595 


METRES OF THE LYRICAL PARTS. 129 


VS. tt eee, ote ey See 
—viovvulelwele 


vin I~wesle— 
Givunl — wt 
os’ bate toy vl H.1110a. 


eam “PR Rs a 


KOMMOS (576-603). 


Logaoedics. 
ae extra metrum. 
rut ago f - is ofa 
wg ae eg en iia eal (ee 
vuvluvuluVvYUluUVYluUVUlUVYl!] VU l]e 
wwutmww f oc, | 
nerf ar er PU es 
vuvl uw Ilwvuiwul 
ertater ots lw f. 
vuvu! ) luuvvuluvel 
wu luvuluvuyvl 
sear das cf. 576. 
mrt ao b= 
SOE ag Bo ye Se Re Wag Ms Wee Bee oo een 
wus pow feat vv. | 
RACE EA Pia Uo 
vuvulweutlweutiwns i 
vuvluvuy| 
rAd tee TN eR eee Poe 
su lowe lows | we 
su lowes | wes + we 
er cf. 576. 
ike Te a ree ae aren 
= luvv] | ae bar arb 
wedi thw] owwew |) = 
bh ee ke ee pe 
vuvuluvuluvuluvy ll 
su lows | 
SES Y eee ne) Pee eet i eee 


are A Pace cA EO 


130 METRES OF THE LYRICAL PARTS. 


THIRD STASIMON (862-911). 
Srropue (862-881 = 882-901). 


Logaoedic. 

862, 882 SS PSK bala: De 
Ge ey Vee eee Gee 
Ul ane fav Vibe 

865, 885 a | eapay 
pte 9 ey eee 20 we pe 
a A ee | kt He 
Lolensiaehinw 1 

Dig gee AE eee 

870, 890 al Da Sa a fine 
wom | wey Bl Ph 
—_ >} ad bewyv Fu 
a> kee] wee Pe 
eas Pap Sar hd Lee 
vuvluuUlweule 

875, 895 602 bP a a! Ai 
vivvy| —v lwulevl 
wevuul aw |] o> Le 

wil swe Tow 
a Sk Pas PD ae 

880, 900 ae ee ed ey, Toe 
vuvulwsy | LL os 
Erope (902-911). 

Logaoedic. 

902 a PS) SE 
wuul aw Puaeloyw4 
>| we ft ase yaw 

905 vuvluuvuluvulvvel 
wan SY a an |e Tene 54 
aT pee Th ese 
ara ee Oey ae a ee 
ED Ne Se, hen, ee oe 
5 | wv | Ss Dsoe 

910 vuvul wey | eel 

| | 


ion ee ~Y 


METRES OF THE LYRICAL PARTS, 131 


FOURTH STASIMON (977-1023). 
StropHe (977-996 = 997-1016). 
Dochmiac and Bacchic (994). 


977, 997 “Ch ESTE? Pe ae pene oy Se eee ees H. 1126 m, ec. 
ui Sd, SA foes | Mtoe k 
U ess Vee CP Juv o> Re a 
Re el wy oy |i w |i ule 
Sere ba! Rake Gb es OF Pcs ono” Pres 


_ dochm. preceded by a logaoedic dimeter. 


= ee ES, he ar Pes [ty | 
hypercatalectic. H.1126b, p. 
BP oe a 
wi nicinsel bgt Vi: eye e Roe o te Fs 
985, 1005 vi MAYA eS 
a: a bist 
We tes tow puw >] H. 1126 g. 
Ae OS LA Le Pee aes 
ante ts tases Pal ol cota | of. 981. 
990, 1010 yt Pe Se | EPL end oy hee 
apt ae PAS en 
og Pag EE IS ee a ae A ay ( iamb. trim. 
Peter Pay |) ae bacchic trim. H. 1127. 
995, 1015 moscow ow juyvlueuiu)} 
Se 5a ae eae 
Erope (1017-1023). 
Dochmiac with Logaoedic Opening. . 
1017 vi “Fey MW oew few. dome) 
vi pli Puc wf 
RCE Ge OS a toe 
1020 Ree nh. Pile 8I%' ) ie eee nee 
ek pet, Te eee og MO, 9 ee H. 1127. 
viuvvvuvyul vy 
w ; Ed | Pee | fe eat 


dochm. preceded by a logaoedic monometer. 


132 METRES OF THE LYRICAL PARTS. 


KOMMOS (1031-1042). 


Dochmiac with Iambic Trimeters in Alternate Passages. 


1031 ui en ed Se Ju Vv 4 ey, © WS Oeds, synizesis. 
1034 Se es 1) 2S es Weis a eee 

ea a sr ae ke eer oh 
1037 as Ms ey ee Ae we ee Me eat 

oh Si es Ae ae ; 
1041 PS a cae ae ae Sve Coe ee 

Nh SAP APN SPARE ee OF ha cee A ae, 

HYPORCHEMA (1153-1164), 
Dochmiac, Bacchic, and Logacedic, with Cretic close. 

R200 ATS ee ae bacchic. 
AS 26 se beeen.) tok sid 
cae. eS ag a Dd) ee logaoedic. 

rg ae Wee Ne een Aa e 
SS. eying Pe wed inte + Oe 4) 
eRe he ae 2 gi 
Sey a IF ae cas, ete te ee iamb. trim. © 
as een ae geet 
DP id, tlase Rall, ods ee th. Eee, Peas Pee ee iamb. trim. 
pd ww eee a de 
POS Ra PA aos. 1 ckee > few 
Vere ey, ek eee cretic. 
KOMMOS (1168-1199). 
STROPHE (1168-1183 = 1184-1199). 
Dochmiac, Bacchic, and Logaoedic. 
MM TS wiyii>f ou [uce >]. 
; iE Oe eee em ee 
1170,1186 UiUuUUVUYU]UUUYUY|] — bacchic. 
ioe as cs > IR 
NPS ce ew A, irs ee ae 
cs Le a cae hE ee eee logaoedic. 
wt see Nd | AS AS | Ors As ey es * 


METRES OF THE LYRICAL PARTS. 


1175, 1191 are 


—_—V 


oy OEE eae oe ae 


vi LW. | 


@ 


TSS 0 0 pee oe hee 


os. cares “tf 
Peet | 


—_oc 
at 


Co eis. eee 
}w~wyu |wole 


ae a Go ge sera © eg) pene 


. 
viuurvl 


_— V 


bacchic tetram. 


ame ae aaa at 


133 


logaoedic. 
logaoedic. 


logaoedic. 


“ 


H. 1127 c. 


134 ; APPENDIX, 


APPENDIX. 


I. MANUSCRIPTS AND EDITIONS. 


TueE most complete classification of the Mss. of Euripides is given by 
Kirchhoff in his larger edition (Berlin, 1855). None of the Mss. is older 
than the twelfth century, and none contains all of the plays. They are 
divided into two classes. Those of the First Class belong to the twelfth 
and thirteenth centuries, and are all copies, more or less complete and 
without interpolations, of a recension which contained the nine plays, 
Alcestis, Andromache, Hecuba, Hippolytus, Medea, Orestes, Phoenissae, 
Rhesus, Troades. The Mss. of this class have the greater authority. The 
most important are : — 


A. Copex Marcranvus (471): in the Library of St. Mark at Venice, 
parchment, of the twelfth century, containing Hec., Or., Phoen., Andr., 
Hipp. to verse 1223, together with marginal scholia and interlinear 
glosses. This is the most valuable of the Mss. of Euripides. 

B. Cop. VaTicanus: in the Vatican Library at Rome, cotton paper, 
of the twelfth century, containing Hec. Or. Phoen. Med. Hipp. Alc. Andr. 
Tro. Rhes. also scholia and glosses. 

C. Cop. HAvnriEnsis: in Copenhagen, linen paper, of a later date than 
B, but copied from a similar Ms. (with the exception of Hec. Or. Phoen. 
which are from an inferior source) and containing the same plays. 

EB. Cop. Parisrnvus: in Paris, parchment, of the thirteenth century, 
containing, besides seven plays of Sophocles and Aristophanes respec- 
tively, six of Euripides, viz., Hec. Or. Phoen. Andr. Med. Hipp. 

F. Cop. Marcranus (468): in the Library of St. Mark at Venice, 
paper, of the thirteenth century, containing, besides several plays of 
Aeschylus and Sophocles, Hec. Or. Phoen. a fragment of Med. 


The Mss. of the Second Class are derived from a recension of the thir- 
teenth century, containing the nine plays of the recension mentioned 
above and also ten more, viz., Bacchae, Helena, Electra, Heraclidae, Her- 
cules Furens, Supplices, Iphigenia in Aulide, Iphigenia in Tauris, Ion, Cy- 
clops. ‘This recension suffered much at the hands of grammarians and 
prosodists, and less care was taken in the copying and preservation of the 


ty 


APPENDIX. 185 


Mss. derived from it. Few copies seem to have been made, and these 
were but little known. The two most important Mss. of this class are: — 


B. Cop. Patatrinus (287): in Rome, parchment, perhaps of the four- 
teenth century, containing Andr. Med. Supp. Rhes. Ion, Iph. T. Iph. A. 
Hipp. Alc. Bacch. Cycl. Heracl. Tro. 


C. Cop, FLORENTINUS (xxxii. 2): in Florence, linen paper, of the four- 
teenth century, containing all the plays except Tro. and 756-1392 of Bacch. 


It will thus be seen that the text of the Bacchantes rests in the first 
part upon two Mss. of the Second Class, and from verse 756 upon only 
one. 

Scnott1a: the best ed. is that of W. Dindorf. 4 vols., Oxford, 1863. 
(See below.) 
‘ EDITIONES PRINCIPES. 

Edition of Laskaris: Med. Hipp. Ale. Andr. based upon a late Ms. 
(now at Paris) and printed in capitals. Florence, (circa) 1496. 

Aldine Edition: containing all the plays except the E/., from different 
Mss. Venice, 1503. 

Edition of Victorius: Ei., from Cod. C. Rome, 1545, 


MODERN EDITIONS. 
The following are some of the most important : — 


Complete Editions. 


Matthiae: containing the tragedies and fragments, with Latin version, 
commentary, scholia, and indexes. 10 vols., Leipsic, 1813-36. 

Duncan: (the Glasgow ed.), a valuable compilation from the best 
authorities up to that date. 9 vols., London, 1821. 

W. Dindorf: with critical notes and scholia. 7 vols., Oxford, 1834—- 
63. Text ed. in Poetae Scenici Graeci. Leipsic, 1869. 

Fix: (Didot ed.), with Latin version, and a few critical notes on twelve 
plays. Paris, 1843. 

Hartung: with German translation and notes. Leipsic, 1848-78. 

Kirchhoff: the most valuable ed. for text-criticism. 2 vols., Berlin, 
1855. Smaller ed. with a few variants. 3 vols., Berlin, 1867-68. 

Paley: with commentary. 3 vols., London, 1858-60. (2d ed. 1872-80. ) 

Nauck: with brief critical notes. 3 vols., Leipsic, 1869-71. 


Separate Editions of the BACCHANTES. 
Elmsley : Oxford, 1821 (Leipsic, 1822). Tyrrell: London, 1871. 
Hermann: Leipsic, 1823. Wecklein: Leipsic, 1879. 
Schéne: Berlin, 1858. Sandys: Cambridge, 1880. 


136 APPENDIX. 


Il. CRITICAL NOTES. 


The following notes contain the principal readings of the text which 
are not supported by either Ms. B or C, together with a few variants. 
‘ Nothing like a full apparatus criticus is called for in an edition of this 
kind. The adopted reading, with the indication of its origin, stands 
before the colon; the Ms. reading and variants follow the colon. If the 
origin of a reading, whether before or after the colon, is not indicated, it 
will be understood to be a Ms. reading. The following abbreviations 
are used: A, Aldine Ed.; B, Codex Palatinus; Bk, Brunck; Bn, Barnes; 
C, Codex Florentinus: D, W. Dindorf; EB, Elmsley; H, Hermann; K, 
Kirchhoff; M, Musgrave; Mt, Matthiae; N, Nauck; P, Porson; R, 
Reiske; S, H. Stephanus; T, Tyrwhitt; W, Wecklein. 


First Hyporuesis: wanting in C.—8yaas W: dddws. — 11. dvOperov H: - 
&vOporov.— 18. ta péev E: pév. 

Sreconp Hyroruesis: also wanting in C. 

TitLe, Baxxat B, TlevOevs C. 

Tue Pray. 8. Alov Bn: Alov tre. —13. trav moduxpicov E: rds mokvxpu- 
covs.— 14. Wanting in C.—Tlepray W: Ilepoow re.— 15. Svcyxipov HE: 
Svoxepov. —16. érndSov W: érredOav. 

20. x8ova W: woAw. The transposition here and elsewhere in the text is 
shown by the marginal numbers, and is not further noticed. — 23. race Pier- 
son: tyobe.— 25. Bédos S: péAos. — 26. arera xpyv W: aWKuorr éxpyy. 

30. elvexa W: ovvexa, likewise in 47.—31. éfexavyav@’ S: éfexavy ape”. — 
32. 7, added by W.—@orpyo’ E: olotpyno. Cf. 687, 814.—38. 6’, added 
by W. 

47. Cf.30.—53f. Ovynrov: Octov Schéne.— éx@ popdyy 7 éunv: éyd popoyv 
épyv H. 

64. yalas H: yas. —66. 00, supplied by N.— 71. tpvycw: Kedadyoe H. 
N suggests kekada.— 79. Oeprrevov M: Oeprorevov. 

81. Kuwod Te: Kara Kicod orehavwlels H.—93. wAayg A: wAnya.—95. 
Bardpoars W: Bardpors. Cf 561. 

102. Onporpddov W: Onporpodor B, bvproddpor C.— 110. 7 év éAciras KAd- 
Sout (vy KTA. Blomfield) W: 7 éAdras KAdSoew B, 7 eAdiras év kAdBSoug C. — 
115. edt dv E: dr dyn B C, doris dye C corr. 

121. tdeor: taSgov D.—123. dvrpors M: év dvrpois.— 126. avg W: ava 
82. — Boxxia M: Baxxela. — 127. dSvBodv K (from Strabo, p. 470, xépac’ dvd 
Svo Body) : 1SvBda.— 128. mvedpara Schone: mvevpar. dvd $2 Baxxddt ovv- 
rove Képarav SuBdqa Pp. ad. mvespar. H.— 129. eidopacr (Strabo, p. 470, 
KadXlkrurov evacpa) Canter: év dopact. 

131. Oeds: ‘Péas Strabo.—133. cuvapav: mpoon pay Strabo.— 134, als: 
ots Strabo. — 135. evr’ dv D: drav. és dv Schone. 


APPENDIX. 137 


140. Avia: Av&ia 6 E.— 144. 5€ Opucke W: 8 ds. 

148. xopots: xopovs D. 

150. wAcKov Burgess: wAdkapov. —153 f. Ilaxrodov W: Tywdrov. — 169. 
Bdxxa M: Boxxov. 

170. éxxdAe (with question-mark after wiAawt) Bergler: éxxadet. — 176. 
dvomrew: dvalpev M.— 178. qoOdpnv: 7Scpnv M. 

182. Rejected by Dobree. — 184. Set A: 8x.— rod W: wot.— 188. 1Sovq 
N: Séwv. Ses Milton. — 189. ravr’ éuol L. Dindorf: ravrd por. 

192. Gpolav 6 Beds dv E: dpolws dv 6 Geds.— 194. dpoxOl E: dpoxOel. 

200. obdev codifdperba: ot8’ évooditcpera M.— K supposes a lacuna after 
this verse. — 201. marpiovs Valckenaer: marpds. — 202. xaraBadgct Scaliger: 
karaBddAe C, karaBdddq B.— Adyos: Adyous E.— 207. xpyte. W: et xpr. 
éxpyv A. Oder D.— 209. 80 dpiOpav: Starpdv Tyrrell. 

233. dis tis A: doris. —235. evoopots kopav Badham: evoopoy kopnv. ev- 
Koopos Kopnv S. eddopouv kdpys Collmann. — 236. olvwmds Bn: olvamds 7° B, 
olvard + C. olvamwas Scaliger. — 238. mporelvwv: mpomlvay Valckenaer. — 
239-241. K (ed. 1867) following Schone puts after 247. 

243. éppidOar R : éppddn. — 251. K, who thinks wdrep was added to fill out a 
defective verse, suggests Baxyevovras (C'corr.)* dAN dvalvopar.—258. el: Kel N. 

263. SvoccBelas R : edoeBelas. — 264-5. Transposed by M. — karatoy vets: 
Karaoyx iver H. 

270. yAdooy W: Suvards. Opacds 1 év dorots Badham. Spdacral re Suvards 
Heims6th.— 278. és 8 Fix: 68. 68M. 68 Bn. @ 8 WAGes Mekler. 

284-297. Rejected by D.—286f. Kal... SSdém: W suggests wel... 
pnpe, SiSdbo. —KarayeAds: StayeAds Herwerden. — 289. Oeov: véov A. 

294. vexéwv: velkeoww Usener. — 300 f. W follows Hartung in rejecting. — 
305. W rejects, following Pierson. —308. mdAdovra Mt: Baddovra. 

311. vory A: vooet. — 314. cwhpoveiv: prj cwppovetv B (yy above the line), 
also Stob. v. 15, lxxiv.8. prj ppovety H. ddpovety Salmasius.— 316. Wanting 
in Stob. Ixxiv. 8, and rejected by K. 

327. tre. Wieseler: vooeis. — 333-336. W attributes to the interpolator 
of 242-247, 286-297.— 334. col: cot Herwerden. —335. Dewérn 0 T: Depe- 
Ans. — 336. rptv: rpav Scaliger. 

341. Seips cov ordw: Seip’ WW ds oréo F. W. Schmidt. 

345. 8 added by Mt.— 346. Sixnv E: 8lky. — 347. Tov’ M: rovc$’. 

359. éféorns: éfeords Badham. — 372. xpvoéav Mt: xpicea.  xpioea 
oxyrrpa E.— 385. dudiBodAy Bn: dpdiBorg. 

392. mdprw E: mpdow — ydp dpws Stob. lviii. 3: ydp dAN’ dpws. — 399. dé- 
po. T: dépe. : 

402. Kumpov H: rdv Kumpov. — 404. eva N: twa. ty of Heath.. 

406. xOdva Meineke: IIdhov. és + "Emddov dv Bergmann. IIddov 0’ av 

@ Tyrrell. — 408. dvopBpor: dvopBpov Mt. — 409. aod N: darov. 
~ 412. w @ Hartung: pe.—413. mpoBaxy’ cite H. mpoBaxxrve. — 427. oo- 
gov A: copay. coddv- 8 darexe H. 


138 APPENDIX. 


430. 6 m té Bk: dru wep B OC, dtu re C corr.— 431. Sexolpav M: Acyoluny. 
— 440. edrerés N: edrperés. evrperés Canter. Cf. 844.—444. Rejected by N. 

451. péOerGe Burgess: palverOe, palverOe xeipov Bothe. —457. é« mwapa- 
oxevis K: els rapackevqv. —466. eloéByo’ Abresch: eioéBno’. —468, ddd 
Canter: GAN 6 C, GAN és B. 

477. épdv yap M: ydp dpdv.—rjv M: .— 490, dallas yé kdoeBotvr’ : dua- 
Olas y ovK evoeBovvtT E.—496. Atovicov: Avoviow Collmann. 

502. atrov E: avros.— 506. drifwv ot@ 6 Spds W: dri fis ov8 dpds. — 
515. otro. P: otre B, ot C.—518. ydpdiinav: W. suggests ydp éxdav. 
Séwv yap Collmann. 

525. tatr’ dvaBdoas M: rdf’ dvaBodras. — 528. avahatve H: dvabave. 

545. éué Hartung: pe.— 549. crotiaor... eipxrais H: oxorlais ... év 
eipxtats. 

554. ’Odvprrov K : "OAvprov. — 565. pdkap H: pdxap’. —567. xopevov W : 
Xopevowv. 

570. eiAvoropévas Heath: eiAtooopévas tre. — 571. Avidlav: Aodlay H.— 
tov H: tov ras. — 573. warépa Bothe: warépa re. —579. d8¢ obey W : aobev. 

585. wéSov E: wéSov.— 590. The Mss. have “Hyx. before wéBopev, but do 
not otherwise indicate the distribution of the ode among the members of the 
Chorus, — 591. l8€ ra W : Were C, Sere ra B. — 594. AIONYXOS. added by T. 

601. oapara Schol. on Phoen. 641: Separa.— 602. dvw: rave N.— 605. 
yoOno’ P: yorOno’. — 606-607. N rejects. — péeAabpov W : Sapa TlevOgws.— GAN’ 
dy R: GAN. ta TlevOdws Supar’ GAN’ dvicrare M.— 607. capkos R: odpxas. 
— 613. Bpdxoav W: ruxav.— 615. xetpe N: xetpa.— 618. xadeipy W : xabetpé’. 

630. odop’ Jacobs: ds. — 631. al®ép’ Canter: wanting in Mss.— 636. 
éxBds éyd Bothe : é« Boxxas dywv. — 638. yotv: ydp Fix. 

647. tpdwov M: wdSa. — 649. Avoer: Avoor E. — 655. codes ov Christ. Pat. 
1529: codes el. 

662. dvetoav xidvos L. Dindorf: xudvos dvetoav. — éEavyets W: evayets. — 
663. S€ wolay P: & drolav. mow ... Adym Collmann. —673. W rejects, 
following N. 

681. rot Scaliger : rod 5¢.— 687. See on 32,— 688. npnpepévny W : tpnpe- 
pévas. — 694. 7° &r’ dfvyes Christ. Pat. 1834: re kdfvyes. ovtvyol re xdluyes 
Usener. — 698. Aixpaow Heath: Arxpacay. 

701. paoros E: patds.— 721. Ocpel? E: Oapev.— 726. cvveBdxxev’ P: 
ouveBaxxevo’.— 727. Spéuw: Spdpov Bergmann. 

738. Bla W: Sixa.—740. wdevp Bn: wAevpdv.— 750. OnBalors Bk: On- 
Balov.— 758. Exavey E: éxaled’. 

761. trois S: rds. —764. yuvatkes A: yuvaikas.—778. iddarerar Christ. 
Pat. 2227: édarrerat, — 787 ff. AIONYZOX. T: the Ms. assigns these yerses 
to the Messenger. 

790. jovxalew: jovxate E.— 791. xwotvra Canter: xwotvr.— 793, xé- 
pas W: Siknv.— 797. mcdepov Collmann: wodvv.— 798 f. The Ms. assigns 
to Pentheus, 800-802 to the Messenger. The correction is due to T.— 799. 
éxtpémev: Hartung suggests éxAumetv, W, Baxxas. -- 


APPENDIX. 139 


801. 6s M: ds. —802. & ray Scaliger: drav.— 808. tof M: gor. — 814. 
See on 32.— 816. y A: 8. — 817. Sys Pierson: 6€Aqs. 

820. co N: co ov. S€ ¥ ov E.—821. vow Canter: vw.— 824. W suggests 
elras at TOS’, dis Tis el. —826. dov pe: dpe E.— 828. W rejects, following 
Collmann. 

835. ye H: re. — Sépos W: Spas. — 837. Sevioers W: Orcas. 

843, 845 f. The Ms. assigns to the Messenger, 844 to Pentheus; corrected 
by Heath. — 844. eirperes Canter: evmperes. Cf 440.— 845. orelxow’ dy: 
oretxapev Schiifer. — 846. melropar A: mwelGopar.— 847. Boxxas: Boxxats 
L. Dindorf. 

851. évels: évOels Burgess. — 852. OeAtjoq A: OeArjora. — 853. éAavvov: 
dAvev Middendorf. 

_ 860. éddAdpois W: év réda. eyyeAdor Meineke, évordrois N.— 861. évvo- 
potor W: dvOpdrrowct. evrpomoic. M. eivoovor Badham. evoeBotor Herwerden. 
avkdvovor Mekler. — 865. al€ép’ els M: els aiSépa.— 869. Orjpav N: Orjpap’. 

873. pox8o1s W: poxSous 7.—deAAds H: 7 déAAous. — 883. mm, added by 
N. — 887. Soxgq W: S0§g.— 893. ro8 Heath: r’. 

905. érepa E: érépa.— 907. 8, added by H.—913. omevSovra A: oév- 
Sovra. — 916. te: ye K.— kal Acxov: KdAcxov R. é« Acdxov H. Kal xopou 
Hartung. — 917. popdyv M: popdy. 

931. é5pas: W suggests plrpas. — 946. éAdras Schol. Phoen. 3: Baxxars. — 
951. ra S: rav.— 952. Ilavds Brodaeus: kamvds.—955. xpudOyvar A: Kpv- 
yvar. 

961. aodews N: yx@ovds.— 962. avrav ely’ E: ely airav. — 964. ce xp 
Fix: éxpnv. — 968. épriv: épol E. 

970. pev: yap H.— 976. éor. W: €orar.—981. tdv, added by Meineke. 
éml tov Moawddev cxordy Hartung. — 982 f. yj oxdmedos W: fj oxodomos. 7 
oxoreAov Hartung. etoxoros is suggested by N. — 986. dpOpevav W : dprodpe- 
pov. K suggests dpiipdpwv. — 989. eu A: 68 ev. 

993, 1014. Aatpov T: Salpov.— 996. roKxov (agreeing with the text of 1016) 
E: yovov. — 998. re Oeds parpds W : parpds te ods. 

1001. vikav W: Big.— 1002. Ovarois darpohacleros W: Odvaros ampoddcr- 
otos. — 1004. Bporelavy E: Bporelw.— 1007. gavép’ dyovr W: davepd trav. 
avepa 7 ovr M. 

1010. 8: r E.— 1020. Onpaypevrg D: Onpaypdra. — 1021. yeAavrt rpocw- 
a@: W considers a gloss upon some such word as xaponmds, or xapomds. — 
1023. weodvtt Scaliger: meocdvtra. W suggests for the whole passage, Oavd- 
cwypov Bodxov mepiBare xapotras | ém’ dyéAav mecovTt tav Mawadov. 

1031. dvag & Hartung: dvaf.— 1037. Ads wats W: Avovucos. — 1041. 
tiv. Christ. Pat. 653: river. — 1044. pods A: pods. — 1048. aounpdv A: 
_ arUKpoV. 

1050. cp@pev M: dpdpev.— 1053. xabivr E: xdbyvr’.— 1060. dor po- 
Boy M: door vobwv. soos pobov Heath. W suggests dorpnpévev. — 1061. 
Sx8ov A: 6x8av.— q T: els. — 1063. Oday’ W: Oaip’. — 1066. KuKdovro A: 
KukAodrat.— 1067. EAikoSpdpov R: exer Spopov. 


140 APPENDIX. 


1087. dpa W: ép0al.— 1098. + H: 8.— 1099. dAAat Brodaeus: &Aou. 

1100. ordxov R: +r dxov.— 1102. AcAnppévos M: AcAnopévos. — 1103. 
Spulvous, kAdSors Hartung: Sputvous, kdSous. — cvvrprawoioa Pierson: evyxe- 
pavvovoa. 

1113. W, following N, regards as spurious. —1116. xrdvot Bk: xrdvy. — 
1121. owéppa W: caida. 

1132. orevofov A: orvyvdfov.— 1133. pepe Duportus: dvédepe. —adévny 
A: éAévnv. — 1134. yupvotvro: yupvoio. Pierson.— 1135. mdevpal: mAeupa 
P. amhevpds Pierson. —1137. orviddors Bn: tvddois. 

1141. migac’ Brodaeus: rrygfac’.— yj Heath: y.— 1148. 798’, added by R. 
— 1152. xrijpa Christ. Pat. 1146: xprpa.— 1153. Bdxxvov H: Baxyxelov. 
— 1157. mordv’Aisav: Burrovisev T. 

1161. éferpdgare Scaliger: éfempdtaro. — 1162. yoow Canter: yovov.— 
1165. Scpovs S: Spopovs. — 1168. dpoOvvers H: dpOeis. Opoeis rod’ Fix. 
ép8ois S.— 1169. dpeos Plut. Crass. 33, Polyain. vi1.41: épéov.—1171. Orjpav 
Plut., Polyain.: Orjpapa.— 1174. A€ovros, added by W.— tuw W: vey. 

1181. ATAYH before rd, inserted by Heath.—1183. 1@8’ dypqa A: rad 
dypa. evruxrs y a8’ dypa N.— 1187. OdAAe. M: BadrAa. — 1188, XOPOX in- 
serted by T.— ¥ dere Orp dypavdos hoBy K: ydp wore Onpds dypavAov poBo. 

1190 f. copds Bk: codds. —Orjpqa rovSe H: Opa révde.— 1193. ri 8, 
added by A. K suggests rl o” érawe.— 1194. S€ A: 5€ Kal. — 1195-1199. 
The Ms. assigns these verses (except dydAAev) to the Chorus. — éra:véoerat A: 
ératvevoerat. — 1197. weptoodv Brodaeus: mepirods. — 1199. rq@de yg L. Din- 
dorf : ra& Epya. —XOPOX inserted by W after, by K before, yq. 

1203. t8nre A: Were. — 1205. dyxvAnrots N: dyxvAwrots. — 1207 f. porqy, 
xpeov N: xpedv, parny.— 1209. y avry K (1867): ravrg.—rovSe A: robe. 

1210. Xopls Te y aBépos Ww (xopls r GOnpos Ruhnken): xepls TE Onpos. — 
1213. anxrev Christ. Pat. 1263: whexrav. — pds olkovs: mpds olkw Scaliger. 
mpos otkots Bn. — 1216. Bdpos: S€pas N.— 1218. pox Sov W: pox Oar. 

1221. W rejects, following N. —8voevpér@: Sucevperov R. — 1224. mdpa 
M: wépt. — 1227. *"Apirralm Heath (’Aporatov Milton) : dpurréa. 

1232. adriyv Scaliger: adris. — 1240. dv kpepacy: dyxpepacby H.— 1241. 
pots A: éuijs. —1246. rd Oipa: W suggests mpobvpa. 

4252. oxvOpwrdv A: cxv0pwmrds. — 1254. dr év: W suggests drws. — dpa: 
Gapa D.— 1257. coterly K: vol 1 éorw. 

1265. rév8 S: révS.— 1269 f. ylyvopar: K suggests yryvdokw, and the 
omission of the following verse. —1271. cadds R: wodis. —1272. éxdeAn- 
opor A: &édnopar.— 1276. épqy A: pol. épr... xowwvla Hartung. 

1283. wporexéva. Bk: mpoceouxévat. — 1285. qjpaypévov M: olpwypévov. — 
1286. AOev E: FAOes. FAO és xépas A. —1297. y,, inserted by Heath. 

1312. éAduBaves H: éAdpBavev.— 1317. réxvov R: réxvwv.— 1318. Oryyd- 
vev Brodaeus: Oryydve. 

1320. rls dSuxct Bn: rls o° ddixet. — 1329. For the lacuna after this verse 
see Appendix III, —1330. Recovered from the Schol. on Dionysios, Periegesis 


APPENDIX. 141 
391, who cites it in connection with the two following verses. —1332. ‘Appo- 
viavy A: dppovias. —1333. dxov A: éxav. — 1339. Blov: Seas N. 

1344, 46, 48. The Ms. assigns to Kadmos; corrected by E. —1345. qSere 
A: elSere.— 1347. wpov Victorius: yyav. — 1349. rade A: tdye. 

1353. @ opocmopoa W: tecal. mais re cvyyovoi te cal H.— 1355. povorl 
Haupt: po. ro. — 1358. ox7p, inserted by N. —1363. orepeioa Bn: orepn- 
Ociora. — 1365. dpviw E: opvis. — wodwxpov M: modi xpws.— kvxvov Heath: 
KUKVOS. 

1372-1392. The text is very defective; N rejects the passage. — 1372. 
orévopar E: otépopor.—oe, added by Bn. — 1377 f. Assigned by the Ms. to 
Dionysos ; corrected by H.— éracyev H: éracyov. 

1380. 8, inserted by R.— 1382. Anpoped” E: Anyoped”. — 1384. p’ éoiSor, 
inserted by M.— 1391. mdpov A: mdpev. 


Il. THE LACUNA AFTER 1329. 


hakurrov év Tétrparow evpécbar pdpov. a 
* * * % * ¥ 

lal 7 ¢ , > 4 
TOS Kai vw % SvoTHVvos cvAaBoupern b 
mpos otépva Jamar; rtiva dé Opnvicw tpdrov ; 

> ‘ ‘ ¥ ¥ > A , 
ei £1) yap id.iov €haBov «is yeipas pdoos ¢ 
x * * x x x 

4 “ 4 

Karaordcacba. mav métos VU — d 


2 A , 9 > , 
Kuvovoa odpKas aomep e&eOpebdunv. 
> , , Ss , , 

@® hirtatn tpdcois, @ ven yévus 


* * * * * * 
‘ > c , \ , 
Ta 5 aipddupta Kat Katndokiopéva e 
pehn 
* * * * * % 


The lacuna after 1329 was observed 
by Tyrwhitt, who referred to this place 
the verse cited from the Bacchantes by 
the Schol. on Ar. Plut. 907, ei wh yap 
ZAaBor t.ov és xépas utoos. Musgrave 
recognized a fragment of this passage 
in the sentence of Lucian, Piscator, 2, 
KaOdrep tid TMevOéa } ’Oppéa Aakiordy 
ev wérpaow ebpérOa udpov. That the 


author of Xpiords tdoxwv had the com- 
plete text, and took from it, for ex- 
ample, the verses mas kal... Tpdmoy 
(1312 f.), was observed by Porson. 
This restoration was carried out fur- 
ther by Hartung in his Euripides res- 
titutus, and finally most thoroughly 
by Kirchhoff, Philologus. VIII. 78-93. 
Kirchhoff has taken from the Christ, 


142 


APPENDIX. 


AIONT=O2. 
# x * * * * 
eis Seopa 7 HOE Kal Adywv WBpiopara. 
, 1) a > A 9 ae Y 
toiyap TéOvnKey Gv éexphv nKicl wo. 
‘ lal A 4 0 @ > OL 
Kal TadTa pev wérovev ovros [€vdixas |. 
& S ad mabeiv Set dadv od Kpto Kakd. 


* * * * 


* * 


“A , la > > / 4 
hurety wodkw THVS avooiov pidapaTos g 


, 4, AQ> aA ¥ 
Siknv tTwovaas TOO by ExTEWway VU — 


‘ f 9-3 lal 7Q> > ‘ > , 
KQUL PNKET Eo Loew mar pio *+ OU Y2p evoeBés. 


* * * * 


* * 


avtos 8 & pedders mHpar éexrryjcew, dpdcw: 


Pat. thirty-four verses, in part frag- 
mentary. Among these is much that 
is uncertain. ‘The most probable are 
given above with some variations and 
in part in a different order. The 
verse @ giArdrn, TA. is obtained by 
Wecklein from a combination of two 
verses, & piArdtn mpdcois, & roboupern, 
Christ. Pat. 921, and & ptararoy xpdow- 
mov, ® véa yévus, ibid. 1469. The other 
Frgs. from the Christ. Pat. are derived 
as follows: b, verses 1 and 2 from 
1312 f.; d, verses 1 and 2 from 1256 f.; 
e from 1471f.; f from 1664, 63, 67, 
68; g from 1674-76, 90. 

The thought of the Frgs. is as fol- 
lows: Agaue laments that her son has 


met his death by being torn in pieces 
among the rocks (a); she would fain 
embrace the dead, but scruples to 
touch him with hands stained with 
murder (b, c); she overcomes her 
scruple, and with pathetic wailing 
kisses the fragments of the body 
(d, e). 

Dionysos, after speaking of the 
fault and punishment of Pentheus, 
and the purpose of the severe atone- 
ment (f and the First Hypothesis, at 
the end) announces the destiny of the 
Thebans (f) and the daughters of 
Kadmos (g). In the last verse he 
apparently begins the prediction re- 
lating to Kadmos himself. 


GREEK INDEX. 


[The numerals, when preceded by p., refer to the page, otherwise to the verses 


deddds, 73. 

aykvhytois oroxdopa- 
ot, 1205. 

dypevs, of Dionysos, 
1192. 

ayvuds, ways, 87. 

dyxovns afta, 246. 

Gdadadlw, 593, 1133. 

dpelpas popdyy, 4. 

dvdykas dpiddaor, 552. 

dvaxaitioee, 1072. 

dvaxopever Spyta, 482. 


aytlarupyov 1réTpayv, 1097. 


dive Kara, 349. —dvw re 
kal karo, 741, 753. 
dvwdoAvta, trans. 24. 
dpoeva vySuv, 526. 
doSrpov xeipds, 736. 
dotparndopa, pass. 3. 
avro onpavet, 976. 


Baxxela, 218, 232, 1293. 


Baxxetov, 308. 
Baxxetos, 1057, 1230. 
Baxyxevpara, 40, 317, 
567, 608, 720, 724. 
 Baxxevs, 145. 
Baxxevowpov, 298. 
Bdxxevory, 357. 
Baxxevo, 76, 251, 313, 
343, 807. 
dvaBaxyxevoura, 864. 
e€eBaxxevOn, 1295. 
ovveBaxxeve, 726. 
Baxxra, 126. 





of the text, or to the notes.] 


Baxxiafov, 931. 

Bdxxvos, 67, 195, 225, 
366, 605, 632, 998, 
1089, 1124, 1145, 
1189. 

Baxxos, 1020. 

Baxxos, 491. 

Boral xudvos, 662. 

éBooxero édarlor, 617. 

Bpople, 66. 

Bvpons ktvrov, 513. 

Buocivous émXovs, 821. 


yoda, 142, 700. 
ynyevrs, 264, 996, 1025. 
yuvatkopipe oroda,980. 


Sevorets, shed, 837. 
Anprrnp, etymology, 
276. 
Starivaterar, pass. 588. 
SiSacKkadria, p. 16. 
Siknv pérerpr, 346. 
Sopwv, apartments, 7. 
Spdxovtos Sdeos, 1026. 
Svo aAlovs, 918. 
Svoxipov, inclement, 15. 
Sapara, of a part of 
the house, 633. 


eipxrat, 497, 549. 

€dXEpors, 860. 

év Stactpodois docois, 
1166. 

évSuTa capKds, 746. 





eépnva, 36. 

ev paddov, 484. 

evatw, 67, 1034. 

ettos, 157, 238, 566, 608, 
791, 1167. 

evopynolav, 641. 

evpux opous = evpelas,87. 

evnpov, 69. 

épupvov, 897, 1012. 

éx@, with partic. 53. . 


Barepov trvov, 692. 

Bcopaxet, 45. 

OLaceva, 75, 379. 

Blacos, 56. — of the 
revel-movements, 
532, 978. 

Siacdrav, 548. 

OHA croAny, 828, 836, 
852. 

Boafe, 65. 

Opwoket meSlov, 873. 

Gvpovpevor els Képas, 
743. 

Ovpoovs, used as weap- 
ons, 762, 1099. 

Buprodopets Ordcrous, 
557. 

Ove Ta Spyra, 473. 


TSatov dvrpov, 120. 
Sov, 198. 
YWopev, trans. 1048. 
tro, 365. 


144 


kat, where Eng. uses 
when, 1079. 

KkaraBaxxtovebe, 109. 

Karackotrety, 1293. 

Karackomr, 838. 

Katackotros, 916, 956, 
981. 

Karadpovet, with acc. 
503. 

KarapevSou Kadds, 334. 

Kepavvios, 6, 93, 594. 

KepavvdBodos, 598. 

KiBSyAevo, 475. 

Klooivos, 25, 177, 363, 
702, 710. 

Kiroos, 81, 106, 253, 
323, 342, 1056. 

kirwoddpois, 384. 

Kirowoas, 205. 

Kopar = dpbadrpol, 747, 
1087. 


Aaktifoum mpds Kévrpa, 
795. 

A€yewv els, 718. 

AcAnppevos, 1102. 

Arras, 677. 

AevKov K@dAov, 665. 

Avooas xives, 977. 


pavddos, adj. 915. 

pavla, of terror, 305. 

péyav avgeoBar, 183. 

peleornkas hpevav, 944. 

péev = pry, 970. 

pnpos, 96, 243, 287, 295, 
523. 

ptrag, 108. 

utrpa, 833, 929, 1115. 

pooxos, 678, 736, 1185. 

pooxav dxov, 1332. 


vapOnka evOupoov, 1157. 


veBpls, 24, 111, 137, 249, 
696. 





GREEK INDEX. 


veBpos, 176, 835, 866. 
vewrepov, calamity, 214. 


Evvarpat BA€sapa, 747. 


Opnpevo, 297. 

Spnpov, 293. 

Spws, with partic, 392. 

épyta, 72. 

épyratev, 415. 

opkdvas, 611. 

Soov ovirrw, 1076. 

6 Ti kadov pidov, a prov- 
erb, 881. 

ov py, with future in- 
dic. 343. 

ov yap dAAd, 785. 

ore mac xav ove Spav, 
801. 


mais marpos, 1030. 

mapeyst, With acc. 5, 

mapoxerevw, metaphor. 
479. 

marep, grandfather, 254, 
1822. 

mArpets, With dat. 19. 

mvéeov peya, 640. 

ad5a Xpovov, 889. 

aoAts, of a region, 58. 

motyidoas, 664. 

mpovermia, 639. 

mpopaci, ostensibly, 
224, 

mpopytns, 211, 551. 


pet, with dat. 142. 
plrre, with gen. 1097. 


oabpov, 487. 
onkoy, 11. 
codifcper ba, 200. 
To codpov, 203. 
omrapro, 1274. 





orevSovra dorovSa- 
ora, 913. 

oredrwpe0a Acyov, 669. 

ornpl{o, 972, 1073, 1083. 

oroniSes, 936. 

otparnvarav, with dat. 
52. 

ouy, with dat. of means, 
52. 

cwdppovew, 314,316, 329, 
1150, 1841. 

cwdpoves, 686. 

ouwdppwyv, 504, 641, 1002. 


Traupokepwyv Gedy, 100. 

TedeTas, 73. 

révoyra, 938. 

vt,with arepeated word, 
1177. 

tis, with an adj. 824. 

rov, relative, 712. 

tplBov Adyav, 717. 

TpryAveors, 1214. 

TprernplSov, 133. 

Tiprava, 59, 156. 

tupopeva, with acc. 8. 


UPpers vBplfew, 247. 
dyujs, 262, 948. 
vmefyjkpifoy, trans. 678. 


darvar, 510, 618. 
ovAdakas, 869. 
dice mepuds, 896. 


xalpev, farewell and 
fare well, 1380. 

Xapavreryistlarre, 1096. 

Xopevpara, 132. 


apodayov yap, 139. 

dpay, instead of dat. 724. 

dere, on condition that, 
842. 


INDEX OF SUBJECTS. 


Accius, imitations of 
Euripides, 273, 439, 
1144, 1185. 


Accusative instead of 
dat. 724. 
of persons after verbs 
of motion, 847,1354. 
of place over which, 
307, 749, 873. 
after a trans. phrase, 
1288. 
Acheloos, 519. 


by metonymy for wa- 


ter, 625. 
Acheron, 13862. 
Adjectives in -#&ms, 12; 
in -yevyjs, 1156. 
compounded with 
stem of the verb, 
or synonymous 
verb, 1096. 
joined with subst. de- 
pendent upon a gen. 
534. 
Aktaion, 337, 1291. 
Anachronism, 70. 
Anacoluthon, 272, 843. 
Anaphora, 1323. 
Aorist, where Eng. uses 
pres. 609. 
Aphrodite, 225, 403, 459, 
688. 
Apposition, with a 
clause, 9. 
Arabia, 16. 
Ares, 302, 1338. 
Aristaios, 1371. 





Asia, 17. 

Asopos, 749. 

Assimilation, of mode, 
1255. 

Augment omitted, 100. 

Antonoe, 230. 

Axios, 569. 


Bacchantes, the play 
widely known, 1169, 
p. 8; in art, p. 8. 

Baktria, 15. 

Brachylogy, 4. 


Cognate acc. with pass., 
955; without attrib- 
utive, 247. 

Compounds in which the 
last part is redun- 
dant, 1096, 1156, 
1157. 

Constructio ad sensum, 
1306. 

Constructio praegnans, 49. 

Costume of women, 821, 
833. 

Crete, 121. 

Cyprus, 402. 


Delphi, 306. 
Demeter’s gifts, 277. 


’ Dionysos, as a bull, 100, 


920, 922, 1017, 1159; 
as other animals, 
1017, p. 11. 

effeminate appear- 
ance, 453. 





Dionysos, friend of 
peace, 419. 
gifts of, 278, 377, 7738. 
inspires terror, 302; 
prophecy, 299. 
oracles of, ibid. 
poured out in libations, 
284. 
wanderings of, 13, 48. 
worship, connected 
with that of other 
divinities, 78, 306, 
402. 
Dirke, 520. 
Dithyrambos, origin of 
the name, 526. 


Echion, 229. 

Elektran gate, 780. 

Eleusinian Mysteries,68. 

Ellipsis of indic. after 
imy. 364. 

Encheleis, 1330. 

Epith. transferred from 
person to thing, 376. 

Erythrae, 751. 


Flute, 126, 160. 
Future mid. as pass. 588. 


Genitive, with com- 
pounds of alpha pri- 
vative, 40. 

with adjs. of knowl- 
edge, 717. 
with exclamations, 
263. 
Gnomic aorist, 662. 


146 


Gods should not be like 
men in wrath, 1348. 

Gorgons, placed in Ly- 
bia, 991. 


Hair, consecrated to a 
god, 494. 

Harmonia, 1357. 

Hatred of foes, a com- 
mon principle of 
Greek morality, 
879, p. 6. 

Hera, 9. 

Historical pres. 2. 

Hypothetical indic. 612, 
1312. 

Hysiae, 751. . 


Iacchos, 725. 
Imperfect, of what is 
just recognized,922. 
Infinitive, with q, 747. 
Tnitiates, purity of, 75. 


Kadmos, changed to a 
serpent, 1330. 
exiled from Thebes, 
ibid, 
leader of an army 
against Thebes, 
1333, 1356. 
sent to Elysium, 1330, 
1361. 
without sons, 1305. 
Korykian nymphs, 559. 
Kuretes and Korybantes 
confounded, 120. 
Kybele, 79. 


Laws of piety eternal, 
895. 

Life too short for unat- 
tainable aims, 397. 

Lydias, 569. 





INDEX OF SUBJECTS. 


Macedonia praised, 409. 
Milk, honey, and wine 
flow from the earth, 
143, 705. 
Mountains move to the 
Bacchic revel, 726. 
Myth of Dionysos, p. 2; 
in literature, p. 11. 


Nile, 407. 

Nymphs of Kithairon, 
951. 

Nysa, p. 9, 556. 


Orpheus, 562. 

Over-wiseness is folly, 
395. 

Oxymoron, 66. 


Paktolos, gold-flowing, 
153. 

Pan, 952. 

Participle,subj. omitted, 
1245. 

Passive, with mid. mean- 
ing, 914. 

Pentheus, play upon the 
name, 367, 508. 

Pieria, 569. 

Preposition, force of, in 
comp. extended to 
following verb, 
1065. 

placed in second mem- 

ber of sent. 110. 

Prolepsis, 98. 


Rash speech punished, 
386. 

Redundancy, 677. 

Refrain, 897, 1012. 

Rhea, 59, 79. 





Sanctity personified, 
370. 
Satyrs, 130. 
Schema Pindaricum, 
1350. 
Semele, bears the god 
prematurely, 3, 91. 
calumniated, 28. 
defended, 41. 
hated of Hera, 9. 
her tomb, 6, 597. 
Soothsayers, mercenary, 
257. 
Sophists referred to, 
202, 266. 
Stichomythia inter- 
rupted, 929, 934, 
1269. 5; 
Subjunctive, hortative, 
341: 
Supplementary partic. 
_ with the subj. 39; 
with the obj. 791. 
Swans, affection for 
parents, 1365. 


Teiresias, 175. 

Thessalians, inventors 
of the javelin, 1205. 

Tmolos, 55, 65. 

Torches of the bacchan- 
als seen in the mts. 
306. 

Trieteric festivals, 183. 

Tympanum, 124, 126, 
156. 


Unchastity attributed to 
the bacchantes, 223, 
354; falsely, 314, 
686. 


COLLEGE SERIES OF GREEK AUTHORS - 


EDITED UNDER THE SUPERVISION OF 





Joun Witiiams Wuite, Pu.D., Professor of Greek 
in Harvard University, 


AND 


Tuomas D. Seymour, M.A., Hillhouse Professor of the Greek 
Language and Literature in Yale University 





Special Notice.— A separate copy of the Text Edition of each of the following 
volumes accompanies each copy of the Edition with Text and Notes, and should 
be furnished to the purchaser by the book-seller without extra charge. The Text 
Edition, which is bound only in paper, is also sold separately at 20 cents a copy. 





The following Volumes are ready: yaa. 


Aristophanes, Clouds. 
Edited on the basis of Kock’s edition. 
By Professor M. W. Humphreys, Ph.D., LL.D., of the University of 
Virginia. 
Text Edition: 88 pp. Paper, 20 cts. 
Edition with Text and Notes: 252 pp. Cloth, $1.40. Paper, $1.10. 


y 


Euripides, Bacchantes. 
Edited on the basis of Wecklein’s edition. 
By Professor I. T. Beckwith, Ph.D., of Trinity College. 
Text Edition: 64 pp. Paper, 20 cts. 
Edition with Text and Notes: 146 pp. Cloth, $1.25. Paper, 95 cts. 


Homer, /ntroduction to the Language and Verse of Homer. 
By Professor Seymour. 
104 pp. Cloth, 75 cts. Paper, 60 cts. 


Homer, //iad, Books /.-I/I1. 
Edited on the basis of Ameis-Hentze’s edition. 
By Professor Seymour. 
Text edition: 66 pp. Paper, 20 cts. 
Edition with Text and Notes: 235 pp. Cloth, $1.40. Paper, $1.10. 


Plato, Apology and Crito. 
Edited on the basis of Cron’s edition. 
By Professor L. Dyer, B.A. (Oxon.). 
Text Edition: 50 pp. Paper, 20 cts. 
Edition with Text and Notes: 204 pp. Cloth, $1.40. Paper, $1.10. 


COLLEGE SERIES OF GREEK AUTHORS 


Sophocles, Antigone. 
Edited on the basis of Wolff’s edition. 
By Professor M. L, D’Ooge, Ph.D., of the University of Michigan. 
Text Edition: 59 pp. Paper, 20 cts. 
Edition with Text and Notes: 196 pp. Cloth, $1.40. Paper, $1.10. 





Thucydides, Book /. 
Edited on the basis of Classen’s edition. 
By the late Professor C. D. Morris, M.A. (Oxon.), of Johns Hopkins Uni- 
versity. 
Text Edition: 91 pp. Paper, 20 cts. 
Edition with Text and Notes: 350 pp. Cloth, $1.65. Paper, $1.35. 


Thucydides, Book V. 
Edited on the basis of Classen’s edition. 
By Harold North Fowler, Ph.D., of Harvard University. 
Text Edition: 67 pp. Paper, 20 cts. 
Edition with Text and Notes: 214 pp. * Cloth, $1.40. Paper, $1.10. 


Thucydides, Book V//. 
Edited on the basis of Classen’s edition. 
By Professor Charles Forster Smith, Ph.D., of Vanderbilt University. 
Text Edition: 68 pp. Paper, 20 cts. 
Edition with.Text and Notes: 200 pp. Cloth, $1.40. Paper, $1.10. 


Xenophon, Hel/enica. 
Edited on the basis of Biichsenschiitz’s edition. 
By Chancellor Irving J. Manatt, Ph.D., LL.D., of the University of Nebraska, 
Text Edition: 138 pp. Paper, 20 cts. 
Edition with Text and Notes: 300 pp. Cloth, $1.65. Paper, $1.35. 


The following Volumes are in preparation: 


Aeschines, Against Ctesiphon; Aeschylus, Persians and Prometheus ; 
Andocides; Aristophanes, Birds and Knights; Euripides, A/cestis and 
Iphigenia among the Taurians; Herodotus; Homer, //iad and Odyssey ; 
Lucian, Selected Dialogues; Lycurgus; Lysias, Se/ected Orations; Plato, 
Gorgias, Protagoras, Laches and Euthyphro; Plutarch, Selected Lives; 
Theocritus; Thucydides; Xenophon, Memorabilia; New Testament, 
The Gospel of John and Acts of the Apostles. 


Boston, March, 1888. 





GINN & COMPANY, Publishers, 


Boston, New Yor, Cuicago. 


Special Notice.— Text Editions of the College Series of Greek Authors can be 
had separately at forty cents each. Any professor can have free as many copies 
of the text as his class is using of the text and notes, these to be the property of 
the college and to be retained in the custody of the professor. The stock will be 
replenished from time to time as copies are worn out, the understanding being, of 
course, that no more copies of the text will be called for than are used of the te 
and notes. 


| LIST OF ABBREVIATIONS 


USED IN THE 


COLLEGE SERIES OF GREEK AUTHORS. 





abs. = absolute, absolutely. def. = definite. 
acc. = accusative. dem. = demonstrative. 
ace, to= according to. dep. = deponent. 
act. = active, actively. dim. = diminutive. 
adj. = adjective, adjectively. dir. = direct. 
ady. = adverb, adverbial, adverbially. disc. = discourse. 
Aeol. = Aeolic. Dor. = Doric. 
antec. = antecedent. edit. = edition, editor. 
aor. = aorist. editt. = editions, editors. 
apod. = apodosis. e.g.=for example. 
App. = Appendix. encl. = enclitic. 
appos. = apposition, appositive. Eng. = English. 
art. = article. Ep. = Epic. 
Att. = Attic. epith. = epithet. 
attrib. = attributive. equiv. = equivalent. 
aug. = augment. esp. = especial, especially. 
c., cc, = chapter, chapters (when nu- etc. = and so forth. 
merals follow). excl. = exclamation. 
cf. = confer (in referring to a parallel f., ff.—following (after numerical 
passage). statements). 
chap. = chapter. fem. = feminine. 
comp. = comparative. Jin. = sub ine. 
cond, = condition, conditional. freq. = frequently. 
conj. = conjunction. fut. = future. 
const. = construe, construction. G. = Goodwin’s Greek Grammar. 
contr. = contraction, contracted. gen. = genitive. 
co-ord, = co-ordinate. GMT.=Goodwin’s Moods and Tenses. 
dat. = dative. H. = Hadley’s Greek Grammar. * 


decl. = declension. hist. pres. = historical present. 


ibid. = in the same place. 

id. = the same. 

i.e. = that is. 

impers. = impersonal, impersonally. 

impf. = imperfect. 

imyv. = imperative. 

in. = ad initium. 

indef. = indefinite. 

indic. = indicative. 

indir. = indirect. 

inf. = infinitive. 

interr. = interrogative, interrogatively. 

intr. = intransitive, intransitively. 

Introd. = Introduction. 

Ion. = Ionic. 

Kr. Spr. = Kriiger’s Sprachlehre, Erster 

~ Theil. 

Kr. Dial = Kriiger’s Sprachlehre, Zwei- 
ter Theil. 

KTE. = kal Ta Edis. 

KTA. = kal Td Aowrd. 

Kiihn. = Kiihner’s Ausfiihrliche Gram- 
matik. 

Lat. = Latin. 

L. & S.= Liddell and Scott’s Lexicon. 

l.c. = loco citato. 

lit. = literal, literally. 

masc. = masculine. 

mid.= middle. 

Ms., Mss. = manuscript, manuscripts. 

Nn. = note. 

neg. = negative. 

neut. = neuter. 

nom. = nominative. 

obj. = object. 

obs. = observe, observation. 

opp. to = opposed to. 

opt. = optative. 

p., Pp. = page, pages. 

part. gen. = partitive genitive. 

partic. = participle. 

pass. = passive, passively. 

pers. = person, personal, personally. 

pf. = perfect. 

pl. = plural. 


plpf. = pluperfect. 

pred. = predicate. 

prep. = preposition. 

pres. = present. 

priv, = privative. 

prob. = probable, probably. 

pron. = pronoun. 

prop. = proper, properly. 

prot. = protasis, 

quot. = quoted, quotation.= 

q.v.= which see. ; 

refi. = reflexive, reflexively. ; 
rel. = relative, relatively. 

Rem. = remark. 

S.=Schmidt’s Rhythmic and Metric. 
sc. = scilicet. 

Schol. = scholiast. 

sent. = sentence. 

sing. = singular. . 
subj. = subject. — 

subjv. = subjunctive. 

subord. = subordinate. 

subst. = substantive, substantively. 
sup. = superlative. 

8.v.= sub voce. 

trans. = transitive, transitively. 

viz. = namely. 

v.l.= varia lectio. 

voc. = vocative. 


§; §§ = section, sections. 
Plurals are formed generally me oak: 
ing s. 


Generally small Roman numerals 
(lower-case letters) are used in 
referring to the books of an 
author ; but A, B, I, etc. in refer- 
ring to the books of the Mliad, 
and a, P, y, etc. in referring to 
the books of the Odyssey. — 


In abbreviating the names of Greek ~ 
authors and of their works, Lid- 
dell and Scott’s List is sarisee 
followed. 








Dodo v (pp), sees: ae, fee ye aay, 
Gtv Bal se tour wri | i 





TINT 


807 215 9 












* 
en 


hee 


asd 
Ay Se 
Be 












OR, 


ea 





a 
= mek 
ita, eee 





ie 





r Da 
Cgey 





4, 








Sr 





a eek 


Seas 





gi, Be es 
Phe =. * 
era 








tg 
. ao 
=o L 





See 
Aye 
“See 








ee re ana em Wn ig ghe S ag 
; = ER AOA as \ 
saaates eae 
Sat we Gass 
Sees 


epee 
enganee 


oan 











oy es e Cie . oe A 





»- 















































































































































































































































